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James Cleveland

James Edward Cleveland (December 5, 1931 – February 9, 1991) was an American gospel singer, musician, and composer. Known as the "King of Gospel," Cleveland was a driving force behind the creation of the modern gospel sound by incorporating traditional black gospel, soul, pop, and jazz in arrangements for mass choirs.

Throughout his career, Cleveland appeared on hundreds of recordings and earned four Grammy Awards. He was the first gospel musician to earn a star on the Hollywood Walk of Fame. He was inducted into the Gospel Music Hall of Fame in 1984. For his trailblazing accomplishments, he is regarded by many as one of the greatest gospel singers who ever lived.

His best known recordings include "Lord, Help Me to Hold Out", "Peace Be Still", "I Don't Feel No Ways Tired", “Where Is Your Faith", "The Love of God", "God Has Smiled on Me", and "Jesus Is the Best Thing That Ever Happened to Me."

Early life and career
Born in Chicago, Cleveland began singing as a boy soprano at Pilgrim Baptist Church where Thomas A. Dorsey was minister of music and Roberta Martin was pianist for the choir. He strained his vocal cords as a teenager while part of a local gospel group; this was said to contribute to the distinctive, gravelly voice which became a hallmark of his later in his career.

As a teenager, Cleveland was a part of a missionary group, Soul Winners for Christ which was created by his teenage friend Jessie Jimerson Phillips. Phillips would go on in later years to write Roberta Martin's last recorded song, "I Have Hope". Soul Winners for Christ also included a young Richard D. Henton and was headquartered at Chicago's Greater Harvest Baptist Church; Louis H. Boddie was pastor. The change in his voice led Cleveland to focus on his skills as a pianist, and later as a composer and arranger. Also produced and co wrote songs with Aretha Franklin for her multi award and multi million sales best selling album Amazing Grace. With songs that included "Precious Memories", "God will take care of you" and "Mary Don't You Weep".

The Gospelaires
In 1950, Cleveland joined the Gospelaires, a trio led by Norsalus McKissick and Bessie Folk. His arrangements modernized such traditional standards as "(Give Me That) Old Time Religion" and "It's Me, O Lord". After the trio disbanded, an associate of the group, Roberta Martin, hired him as a composer and arranger. The song that brought Cleveland tremendous fame was his rendition of "Peace Be Still".

Albertina Walker & The Caravans
Cleveland went to work with childhood friend Albertina Walker, founder of The Caravans, as a composer, arranger, pianist, and occasional singer as well as a narrator.

The Caravans became the launching pad for today's gospel legends. Besides Cleveland, the group counted among its membership several gospel luminaries including Shirley Caesar, known as the First Lady of Gospel; Cassietta George, who co-wrote some of the group's best hits; Delores Washington; Josephine Howard, mother to R&B artist Miki Howard; Inez Andrews, whose song "Mary, Don't You Weep" became a staple in the industry; Dorothy Norwood, known as Gospel's Greatest Storyteller; James Heron; Loleatta Holloway, who became a legendary dance recording artist in the late 1970s; and several others.

In November 1954, Walker provided Cleveland the opportunity to do his very first recording. By staying out of the studio for a while, she convinced States Records to allow him to record with her group. He continued to record with The Caravans until States closed down in 1957. Cleveland would later reunite with Walker in the late 1970s with two album releases: Reunion, released in 1977, and the iconic classic Please Be Patient With Me, released in 1979 with the Trinity All Nations Choir of Chicago. This album earned Walker her first gold record.

In 1959, he recorded a version of Ray Charles' hit "Hallelujah, I Love Her So" as a solo artist. By 1960, Cleveland, who had incorporated blues riffs in his work – and what Anthony Heilbut described as "sheer funkiness" – had become associated with a new tenor in gospel music. He became known by more than just the professionals within gospel music with his version of the Soul Stirrers' song, "The Love of God", backed by the Voices of Tabernacle from Detroit. The success and sensation of the song's recording led to a record contract with an historic label that would change his life forever.

Savoy Records
James Cleveland signed with the historic jazz label Savoy Records in 1962, going on to release a huge catalog of soul gospel recordings from that year until his death in 1991, many of which were recorded in a live concert setting. The live concert recording staple started with Reverend Lawrence Roberts, pastor of the First Baptist Church in Nutley, New Jersey, home of the famous Angelic Choir. Roberts liked the idea of capturing worship in song live on a recording where the listeners can feel and become of a part of the service. Working with Savoy's executive producer Fred Mendelsohn, Cleveland and the Angelic Choir of Nutley released two albums before recording the iconic masterpiece, Peace Be Still, in September 1963, which sold thousands of copies at that time and garnered Cleveland his first gold album. Peace Be Still also stayed on the Billboard charts for at least fifteen years after its release.

The Cleveland Singers
Cleveland moved to Los Angeles to become Minister of Music at Grace Memorial Church of God in Christ, where he attained even greater popularity working with keyboardist Billy Preston and the Angelic Choir of Nutley, New Jersey. He returned to touring with the newly organized James Cleveland Singers, which included Odessa McCastle, Georgia White, Eugene Bryant, and Billy Preston, among others. In 1964, Cleveland re-organized The James Cleveland Singers, which included Odessa McCastle, Roger Roberts, and Gene Viale (who was the first Latin-American to integrate soul gospel and sing with the Cleveland Singers).

In 1965, Cleveland added Clyde Brown and Charles Barnett to his group, which by then was traveling extensively throughout the United States and abroad into the late 1960s, performing in all major venues. This collaboration produced such recordings as "Heaven That Will Be Good Enough For Me", "Two Wings", and "The Lord Is Blessing Me Right Now".

Other singers were added in later years, including Marva Hines and renowned soprano soloist, Cleo Kennedy. They were mainstays until Cleveland's death in 1991.

The Southern California Community Choir
Cleveland capitalized on his success by founding his own choir, the Southern California Community Choir. After being nominated numerous times in previous years, James won his first Grammy Award with the Southern California Community Choir in 1975, for his 1974 album, In the Ghetto.

He recorded several albums with SCC between the years of 1970 and 1990. Their most successful albums were the 1979 Grammy-nominated release, It's a New Day, featuring the industry's signature staple, "God Is"; and their 1981 release, Where Is Your Faith; among many others. His final Grammy Award was issued posthumously after his passing in 1991, for his final album with SCC, Having Church, which features Cleveland's iconic rendition of Tramaine Hawkins' signature "What Shall I Do?", written and composed by Quincy Fielding.

Cornerstone Institutional Baptist Church
In November 1970, Cleveland founded his own ministry and church, Cornerstone Institutional Baptist Church, in Los Angeles which grew from ten to thousands of members throughout the remainder of his life. His first album with the church choir, The Voices of Cornerstone, was released in 1980, which featured a wonderful rendition by Cleveland of "Jesus, Lover of My Soul", and the title track, "A Praying Spirit", written by Elbernita "Twinkie" Clark and recorded by The Clark Sisters. The church choir's second album, My Expectations, was released in 1981 to moderate acclaim. By the time of his death the church membership was over 7,000.

James Cleveland Presents
From the 1970s until 1990, Cleveland would bring together a number of artists to back him on appearances and records. He also continued to introduce, appear, and record with some of the most notable gospel choirs and independent artists of the time – many of whom became legends in their own right including The Donald Vails Choraleers (Detroit); The Harold Smith Majestics, with whom he recorded the classic "Lord, Help Me to Hold Out"; The Los Angeles Gospel Messengers, the last choir to record with Cleveland before he passed; New Jerusalem Baptist Church Choir from Flint, Michigan; Henry Jackson; The Craig Brothers; The Salem Inspirational Choir from Omaha, Nebraska, with whom he recorded the iconic staple "I Don't Feel Noways Tired"; Richard "Mr. Clean" White; Bishop Albert Jamison & the Triboro Mass Choir; Issac Whittmon; Marva Hines; Debbie Austin; The Fourth of May; Quentella Caldwell; Sara Jordan Powell; The Philadelphia Mass Choir; The Houston Mass Choir; The New Jersey Mass Choir; and the award-winning Charles Fold Singers, from Cincinnati, Ohio, with whom Cleveland recorded five albums, including the Grammy-winning 1979 release, Make Me an Instrument.

Additionally, Cleveland himself backed other acts, contributing to the recordings of well-known artists such as Aretha Franklin, Ray Charles, and Elton John.

Aretha Franklin's Amazing Grace
Cleveland also moved to Detroit in the 1960s to take a position as music director at the famed New Bethel Baptist Church, where C. L. Franklin, father of the Queen of Soul, Aretha Franklin, was pastor. In 1972, James collaborated with Aretha on her historic Grammy-winning and multi-million-selling album Amazing Grace, which is known as the Greatest Gospel Album of All Time. Recorded live at the New Temple Missionary Baptist Church in Watts in Los Angeles, with his Southern California Community Choir, his feature on the album and Aretha's success as a pop artist made the album a historic landmark in gospel, and is still selling to this day, with a special CD re-release of The Complete Recordings (the unedited album recording session of the Amazing Grace project).

This historic recording was also filmed by director Sydney Pollack for an intended documentary release, but due to a technical issue of not using a clapperboard to synchronize the audio with the video, the film was deemed unusable, and was left shelved for the next 47 years. Before he died, Pollack authorized producer Alan Elliott to try to complete the film. Initially unaware of the sound synchronization problem, Elliot mortgaged his own house to buy the film negative from Warner Brothers, but was able to use modern technology to bring audio and video together successfully. The completed documentary was finally released in April 2019, playing in select theaters across the world, with a premier at the New Temple Missionary Baptist Church itself.

Gospel: The Motion Picture
The historic documentary film Gospel, released in 1983, features James Cleveland for the first time on the motion picture screen, along with the Southern California Community Choir, Walter Hawkins & the Family, The Mighty Clouds of Joy, Shirley Caesar, and The Clark Sisters. The film was directed by David Leivick and Frederick A. Ritzenberg. Excerpts from the film soundtrack was released on Savoy Records and became a top seller, with Cleveland having the majority feature on side two of the album.

Gospel Music Workshop of America
In 1968, Cleveland taught others how to achieve the modern gospel sound and preserve the industry's rich legacy through his annual workshop convention, The Gospel Music Workshop of America (GMWA), an organization that he co-founded with Albertina Walker and which now has over 150 chapters with 30,000 members. The GMWA has featured and produced the likes of Donald Vails, Issac Douglas, Myrna Summers, Sara Jordan Powell, Daryl Coley, John P. Kee, Kirk Franklin, Kurt Carr, Donald Lawrence, and Yolanda Adams. The purpose of the workshop was to bring together singers from all over the country in order to perpetuate the art of gospel music. The workshops eventually attracted thousands of adherents and laid the groundwork for the popularity of gospel music. The last album Cleveland recorded with the GMWA was their 1990 release from the previous year's annual convention in New Orleans.

Gospel renditions of pop songs
Throughout his recording career, Cleveland started a trend and was famously known for taking some of the greatest pop, R&B, and soul songs and transforming them into gospel anthems. Out of all the mainstream pop songs he rearranged for gospel audiences, his most memorable is his classic rendition of Gladys Knight & the Pips' "You're the Best Thing That Ever Happened to Me," which he changed to "Jesus Is the Best Thing That Ever Happened to Me." This rendition earned him a Grammy nomination when it was released in 1975 as his first recording with the Charles Fold Singers of Cincinnati, Ohio. Another memorable gospel rendition was of Barry Manilow's "I Write the Songs," which he recorded on his 1977 Grammy-winning album, Live at Carnegie Hall. The last song rendition he presented was Whitney Houston's "Didn't We Almost Have It All," known as "Aren't You Glad You Know the Lord," which Cleveland recorded in 1989 with the Northern and Southern California Choirs of the GMWA on the album Breathe on Me, featuring Daryl Coley and current Savoy Records executive producer Milton Biggham.

King James Records
From 1985 to 1988, Cleveland launched his own independent record label, King James Records, which was manufactured and distributed by Detroit's own Sound of Gospel/Nine Records, Inc. Under his label he released three albums with the GMWA; one solo release; Billy Preston's first gospel album; two albums with the Los Angeles Gospel Messengers, which includes their first, most popular release, Praise 88; an album with his iconic Southern California Community Choir; and a resurgence of his James Cleveland Presents series, which brought back The Craig Brothers, The Fourth of May, and introduced The Harmonizing Four. Cleveland's record label folded after the distributor closed.

Death
On February 9, 1991, James Cleveland died in Culver City, California. He was 59. Some reports list the cause of death as congestive heart failure stating that the singer had fallen into a coma shortly before his death. Over 8,000 people gathered for his funeral service at the Shrine Auditorium in Los Angeles. He is interred at Inglewood Park Cemetery in Inglewood, California.

Estate and inheritance matters
Following Cleveland's death in February 1991, a number of controversies arose surrounding his estate, which at the time was estimated to be worth between $4 and $6 million.

Andre M. Cleveland
In October 1991, music producer Andre M. Cleveland (then aged 34) filed suit against James Cleveland's estate, claiming to be Cleveland's adopted son.

Jean Ervin/LaShone Cleveland
Also in October 1991, Jean Ervin, a member of the Cleveland-founded Cornerstone Institutional Baptist Church, claimed that she was the mother of Cleveland's only biological child, daughter LaShone Cleveland (b. 1965). Ervin also said that she believed that Andre M. Cleveland was not adopted as he claimed, but was merely one of the many "homeless" children that the late-singer took into his home over the years.

Abuse and infection allegations by Christopher Harris
In February 1992, Cleveland's then-foster son, Christopher Harris (formerly Christopher Harris Cleveland), filed a lawsuit against Cleveland's estate, claiming that Cleveland allegedly sexually abused him over a period of five years and infected him with the HIV virus, which he claims Cleveland contracted through same-sex liaisons. The case was settled with undisclosed terms. According to Heilbut (2012), Cleveland was widely recognized as gay in the gospel circuit.

Grammy Awards

 * Grammy Award won for Best Soul Gospel Performance 1974: James Cleveland & The Southern California Community Choir: In the Ghetto
 * Grammy Award won for Best Soul Gospel Performance, Traditional 1977: James Cleveland: James Cleveland Live at Carnegie Hall
 * Grammy Award won for Best Soul Gospel Performance, Traditional 1980: James Cleveland & The Charles Fold Singers: Lord, Let Me Be an Instrument
 * Grammy Award won for Best Gospel Album by a Choir or Chorus 1990: The Southern California Community Choir: Having Church

title: James Cleveland


text: User talk:67.167.94.251

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:67.167.94.251


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Alberta clipper

An Alberta clipper, also known as an Alberta low, Alberta cyclone, Alberta lee cyclone, Canadian clipper, or simply clipper, is a fast-moving low-pressure system that originates in or near the Canadian province of Alberta just east of the Rocky Mountains and tracks east-southeastward across southern Canada and the northern United States to the North Atlantic Ocean.

Alberta clippers constitute a major winter-season storm track  for  extratropical cyclones in the Northern Hemisphere, tracking across the continent  in 2–3 days while affecting weather in parts of the Prairies and central provinces of Canada, as well as the Upper Midwest, Great Lakes, and New England portions of the United States. They are associated with cold, dry continental air masses and generate small-scale, short-lived weather events typically producing 8–15 cm (3-6 inches) of snow in a 3-6 hour period. However, they can precipitate sudden temperature drops and sharp winds leading to local blizzard conditions, especially when interacting with moisture from the Great Lakes.

Etymology

Alberta clippers take their name from Alberta, the province from which they appear to descend, and from clipper ships of the 19th century, one of the fastest ships of that time.

The term was coined in the late 1960s by Rheinhart Harms, a meteorologist at the U.S. National Weather Service Office in Milwaukee, Wisconsin, who noted the rapid speed of these snow-producing storms as they moved across the Dakotas from Alberta towards the Great Lakes. Its colloquial use spread among U.S. and Canadian weather forecasters in the early 1970s. It would enter the scientific literature around the 1990s. Storms beginning their southward treks from other Canadian provinces, far less common than clippers, are often still referred to as clippers, or by the fanciful names Saskatchewan screamer, Manitoba mauler or Ontario scari-o.

Formation

A clipper originates when warm, moist winds from the Pacific Ocean come into contact with the mountains in the provinces of British Columbia and then Alberta. The air travels down the lee side of the mountains, often forming a chinook in Alberta, then develops into a storm over the Canadian prairies when it becomes entangled with the cold air mass that normally occupies that region in winter. The storm then moves east-southeast riding the jet stream, and passes off the upper Atlantic Coast, normally north of Delaware Bay.

The chinook, which in part originates the Alberta clipper, usually brings relatively warm weather (often approaching 10 °C/50 °F in the depths of winter) to southern Alberta itself, and the term is therefore not used in Alberta.

Effects
The storms sweep in at high speed over whatever land they encounter, usually bringing with them sharp cold fronts and drastically lower temperatures. It is not uncommon for an Alberta clipper to cause temperatures to drop by 16 °C (30 °F) in as little as 10 to 12 hours. Often, the storms bring biting winds with them, only increasing the effect of the lower temperatures. Winds in advance of and during an Alberta clipper are frequently as high as 56 to 72 km/h (35 to 45 mph). These conditions would cause wind chill values to drop into the −30° to −45 °C (−20° to −50 °F) range across the upper Midwest and Great Lakes.

Snowfall amounts with these systems tend to be small (on the order of 1–3 inches or 2.5–7.5 cm), as the relative lack of moisture and quick movement inhibit substantial snowfall totals. However, several factors could combine to produce higher snow accumulations (6 inches/15 cm or more). These factors include access to more moisture (which raises precipitation amounts), slower system movement (which increases snowfall duration), and colder temperatures (which increases the snow to water ratio). The southern and eastern shores of the Great Lakes often receive enhanced snowfall from Alberta clippers during the winter, due to lake enhancement. The lake-effect snow can add substantially to the overall snowfall total.

Occasionally the clippers, when reaching the upper Atlantic seaboard (usually north of Delaware), "bomb out" and can cause severe winter weather along the coast from Boston northward as Atlantic moisture is tapped. Snowfall amounts can approach 6–12" or more when this happens. However, typically, Alberta clippers are not large snow producers south of Boston.

During the winter, Alberta clippers can occur somewhat frequently, with system intervals on the order of two to four days common during active periods.

title: Alberta clipper


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Soap opera rapid aging syndrome

Soap opera rapid aging syndrome (SORAS) is the practice of accelerating the age of a television or film character (usually a child or teenager) in conflict with the timeline of a series or the real-world progression of time. This allows, for instance, storylines around a pregnancy and birth to be relatively quickly followed by storylines around the travails of that child as a teenager or young adult. This is usually accomplished by recasting the actor playing the part, although in some cases the character is not shown onscreen, only mentioned, until after they have been "rapidly aged".

The process originated (and is most commonly used) in daytime soap operas, though it is also sometimes used in prime time shows. On sitcoms, a newborn infant character is sometimes aged quickly into a kindergartener, for greater comic potential, as was done with the character Chrissy Seaver on Growing Pains in 1990.

The term was coined by Soap Opera Weekly founding editor-in-chief Mimi Torchin in the early days of the magazine, which began publishing in 1989. It is now widely used in soap operas and is sometimes used as a verb as well ("the character was SORASed"). Torchin has jokingly called it "my one greatest contribution to the world of soap operas."

Examples
The practice of rapidly aging characters dates back to the early years of television soap opera. In As the World Turns, Tom Hughes was born onscreen in 1961. By 1970, he had been to college and fought in the Vietnam War. Subsequent recasting exhibited a reverse phenomenon, keeping him in his 30s for 20 years, with Tom hitting his 40s in the 1990s. Dan Stewart, born onscreen on As the World Turns in 1958, reappeared as a 26-year-old doctor in 1966. A 1993 secret history storyline on All My Children established that lead character Erica Kane had been raped immediately before the series' 1970 debut. In this retcon, Erica represses all memory of the assault until 16-year-old Kendall Hart, the child conceived during the rape and put up for adoption by Erica, appears in 1993. Viewer reaction to the discrepancy created by Erica having a 16-year-old daughter as the result of a 24-year-old rape prompted the series to immediately adjust Kendall's age to 23.

On the sitcom Growing Pains, the character Chrissy Seaver was born in October 1988. She was an infant for the remainder of season four (1988–1989) and a toddler (played by twin sisters Kelsey and Kirsten Dohring) in season five (1989–1990). However, for the final two seasons (6–7), Chrissy was rapidly aged to five. She was played by seven-year-old Ashley Johnson.

The repeated use of SORAS on Days of Our Lives led to characters Tom Horton and his great-great-grandson Scotty Banning both working as doctors in the same hospital at the same time.

Jersey Boys uses SORAS for Frankie Valli's daughter, Francine. Through the first three quarters of the musical and film, she ages in real time with the narrative, then jumps several years ahead while the story remains in the late 1960s, to the point that her 1980 death occurs at roughly the same time of the narrative as Valli's 1967 hit solo record "Can't Take My Eyes Off You."

title: Soap opera rapid aging syndrome


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Wipeout 2097

Wipeout 2097 (released as Wipeout XL in North America and Japan) is a racing video game developed and published by Psygnosis. It is the second installment released in the Wipeout series and the direct sequel of the original game released the previous year. It was originally released in 1996 for the PlayStation, and in 1997 for Microsoft Windows and the Sega Saturn. It was later ported by Digital Images to the Amiga in 1999 and by Coderus to Mac OS in 2002.

Whereas the original game introduced the F3600 anti-gravity racing league in 2052, Wipeout 2097 is set over four decades later and introduces the player to the much faster, more competitive, and more dangerous F5000 AG racing league. The game introduced a new damage interface and new weapons and tracks. The Sega Saturn version supported analogue control by using its 3D Control Pad, whereas the PlayStation version supported analogue control only through using the optional NeGcon twist controller.

Wipeout 2097 received critical acclaim upon release; reviewers praised the game for its dramatic improvements to the controls, graphics, and gameplay of the original Wipeout. It has appeared on lists of the greatest games of all time by multiple publications.

Gameplay
Gameplay does not differ much from the previous title. Aside from the different circuits and new weapons, the fundamental aspects were kept. Pilots race each other or computer-controlled A.I. opponents to finish in the highest position possible.

Though the crafts move at very high straight-line speeds, Wipeout takes its inspiration from Formula 1 breakthroughs by aspiring for even greater turning speeds. Using the Formula 1 parallel, rather than using aerodynamics to increase wheel grip by down-force for faster turning speeds, Wipeout uses a fictionalised method of air braking for ever greater turning force. Just moving a craft left or right alone is very responsive, but by applying an air-brake in the direction of movement, players zip around very tight turns at near top speed, including those greater than 90 degrees. By applying an air-brake, the turn starts out gradually but as it continues, change in direction increases sharply. Where necessary, the player may also use dual air-brakes for rapid deceleration, typically used if the pilot has flown off the racing line in tight corners and needs to steady. The player can also take damage from enemy fire and be blown up, but the ship can be "recharged" to health at the pit stop in exchange for a precious few seconds of the race.

Aside from the usual tactical aspects of racing, Wipeout 2097 (unlike its predecessor) offered the chance to eliminate other drivers from the competition by destroying their craft with weapons. Each craft has a shield energy quota, and when this quota reaches zero—either from damage sustained from weapon attacks, or impact from other craft or the edges of the circuit—the craft blows up. The craft also blows up if the time limit is reached, though this only applies to human players. The biggest weapon introduced in 2097 was the Quake Disruptor, which has been a series hallmark ever since. This weapon causes a quake to whip up the track, sending opponent craft into the air and smashing back down.

The aim of the game remains the same from its predecessor: complete increasingly difficult challenges to move on to the next race. The difficulty level is changed by increasing the top speed of the craft, through four different classes (Vector, Venom, Rapier, and Phantom). The number of laps needed to complete a race also increased with each new class. Victory in the challenge modes is the game's ultimate accomplishment. These modes are similar to a championship where players have to race every track to become a champion; however, rather than tallying up points, Challenge mode takes a very single player-centric approach by only allowing progress to the next track by coming in first on the current track. Players can lose the mode by losing all three lives, which are lost by finishing a race in worse than third position. By winning all the races, the player is crowned champion and given access to faster modes, new tracks and ultimately the Piranha craft.

Development
As with the first installment, Wipeout 2097 was developed by Liverpudlian developer Psygnosis and the promotional art was designed by Sheffield-based The Designers Republic. The development cycle ran for seven months. To cater for the increase in Wipeout players, an easier learning curve was introduced whilst keeping the difficulty at the top end for the experienced gamers. The game was originally intended as a tracks add-on for the original Wipeout. No sequel had been planned, but Andy Satterthwaite (who worked on the MS-DOS version of the original) was asked by Psygnosis to apply for the role "internal producer". He did, and during the interview, asked to do a sequel to Wipeout, but instead ended up developing extra tracks. The add-on was titled Wipeout 2097 because Psygnosis did not want to give the impression that it was a full sequel. In the United States, it went by the name of Wipeout XL because it was felt that American players would not understand the concept of the game being set a century in the future. The American title was originally to be Wipeout XS (for "Excess"), but it was pointed out that XS could also stand for "extra small". Satterthwaite ended up with a team of two coders (two of whom were new), six artists, and Nick Burcombe.

The game's look was influenced by Japanese culture because the team had worked with The Designers Republic. Nicky Westcott was the lead artist, and her team built on the original vehicle designs. She also worked with the designers and coders on the tracks. Custom tools were created in Softimage to develop the tracks, which were tweaked and the team played each other's tracks to obtain feedback. During the process, Satterthwaite realised that he could do more than the tracks add-on he was tasked with producing. Work on the tracks began in January 1996, and the plan was to select eight tracks out of twenty designed and built in a month. Their "skinning" was expected to be complete by June, with the game anticipated for release in October. Despite the work involved, Satterthwaite had three uninvolved coders. The collision code from the original Wipeout was also completely overhauled.

Burcombe wanted to improve on the original's ship handling and introduce a new weapon, which led to new power-up ideas. Westcott said that it was a collaboration between the areas because of the strict deadline. The gameplay change that had the most interest was what happened to ships that hit track edges. That ships stopped immediately in the original game was considered too harsh. It was desired that ships scraped the edges instead, and this took longer than expected to develop. Ghost vehicles were only featured in the European version because Atari had a patent on them from Hard Drivin' in the United States. The team wanted to make it possible to win races in any ship, and a challenge was to make them all feel different and to still have their worth. Months of work rebalancing the artificial intelligence was undertaken to ensure all vehicle and track settings were a challenge. Sony wanted a link-up feature, which proved difficult due to syncing issues and the frame rate differences between PAL and NTSC. Much extra content, such as more difficult tracks and a prototype ship, was added because, according to Westcott, the team were both enthusiastic and stressed, and described their development as "a period of great energy and immense exhaustion at the same time".

An entire United Kingdom nightclub tour was initiated in conjunction with the Red Bull energy drink, which was featured prominently throughout the game before the drink actually gained popularity in the American market.

The game was first unveiled in the form of a pre-alpha demo at the May 1996 Electronic Entertainment Expo. Wipeout 2097 was released in 1996 and sold around a million copies. Ports for the Sega Saturn, Amiga, Apple Macintosh, and PC were later released.

Music
New music was mostly recorded from Psygnosis's in-house music team, CoLD SToRAGE, for versions released outside the PlayStation. The songs of the PlayStation, Sega Saturn and the Windows and Mac versions could also be listened to by inserting the CD into a CD player (and skipping the first track). The soundtrack was also released as an audio CD, though with a different artist and track listing.

PlayStation
In the United Kingdom, it was among the nineteen best-selling PlayStation games of 1996, according to HMV.

Air Hendrix scored the PlayStation version a perfect 5 out of 5 in every category (FunFactor, control, sound, and graphics) in GamePro, citing "across-the-board innovations" over the already excellent original WipeOut. He particularly remarked that the controls are much more refined, fairer, and easier to master, and that the frame rate and graphical effects are much more impressive. Tom Ham of GameSpot also commented on the control improvements and approved of the new ability to destroy opponents. Additionally praising the elaborate backgrounds, detailed sound effects, and more aggressive A.I., he deemed it "a must buy." IGN said that it had topped the original in terms of music, number of simultaneous racers, A.I., weapons, and graphics, and concluded, "It's games like this that make you proud to be a PlayStation owner." In 1996, Next Generation ranked Wipeout 2097 as the 32nd top game of all time for how "playing linked Wipeout comes close to gaming at its very best", noting that the game could have been a technology demonstration for PlayStation. Edge gave both the PlayStation and Sega Saturn versions a score of 8 out of 10, with similar remarks of its improved graphics and its gameplay.

Electronic Gaming Monthly editors awarded Wipeout 2097 Best Music of 1996 and a runner-up (behind Super Mario 64) for Best Graphics. In 1997, The Official PlayStation Magazine named it the fifth top PlayStation game yet, and Electronic Gaming Monthly named the PlayStation version the 96th best game of all time, calling it "the first game of the cyberpunk-esque 'electronic age,' before the electronic age was just a hype-filled buzzword." In IGN's top 25 PlayStation games of all-time list it ranked 13th, noted for being often considered the PlayStation's best racing game of its time and was chosen ahead of others in the series because Wipeout 2097 was "the one they preferred to keep coming back to". In 2003, Wipeout 2097 was inducted into GameSpot's list of the greatest games of all time. It ranks as the third-best PlayStation game at GameRankings with an average review score of 94.75% from ten different sources.

Ports
Rich Leadbetter of Sega Saturn Magazine commented that the Saturn version, while not as good as the PlayStation original, is a much closer conversion than the Saturn port of the first Wipeout, particularly in terms of the fluidity, control, and sense of speed. He deemed it the second best racing game on the Saturn, exceeded only by Sega Rally Championship.

Jeff Gerstmann reviewed the PC version in GameSpot, assessing that "The PC version's Direct3D support gives this new release a nice face-lift, while still keeping intact the fast action and stylized graphics that console players have come to know and love." He said that the new soundtrack, while good, is a disappointment compared to the PlayStation version's techno tracks, but gave the game a strong recommendation. Next Generation stated that "If you have a 3D accelerator of any sort, you owe it to yourself to pick up this game. Its nearly flawless gameplay, pumping soundtrack, and visual excellence mark it as a showcase title and all around good time."

title: Wipeout 2097


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User talk:Kermit criminal

Hello and welcome to Wikipedia!

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title: User talk:Kermit criminal


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Wipeout 64

Wipeout 64 is a 1998 futuristic racing game developed by Psygnosis and published by Midway for the Nintendo 64. It is the third game in the Wipeout series and remains the only one published on a Nintendo console. At the time of the game's release, developer Psygnosis had been owned for five years by Sony Computer Entertainment, for whose hardware all subsequent Wipeout games have been released exclusively.

Set in 2098, a year after Wipeout 2097, Wipeout 64 introduced several new elements to the Wipeout series including analogue control which benefited from the Nintendo 64's controller, new weapons, teams, and tracks. The game received generally positive reviews from critics. Comparing the game with F-Zero X, which was released a month earlier, many critics praised the game for its individuality among the Wipeout series, its graphics, offering more tracks and racing craft, unique atmosphere and "superior track design". However, the game was criticised for its slow frame rate, and opinion is divided whether Wipeout 64 is a 'true sequel' to Wipeout 2097.

Gameplay
Most aspects of the gameplay did not differ from the previous two titles. Wipeout is based on a futuristic anti-gravity setting where pilots would race against each other or computer-controlled AI opponents to finish in the highest position possible. Wipeout gameplay takes inspiration from Formula One parallels; rather than using aerodynamics to increase wheel grip by down-force for faster turning speeds, Wipeout uses a fictionalised method of air braking for ever greater turning force.

Wipeout 64 provides most of the same features as Wipeout 2097 along with new weapons unique to each team. New additions to the weapons interface include the ability to fire three rockets at a time and rear-locking missiles. Returning weapons include the homing missiles, machine guns and plasma bolts. Exclusive to Wipeout 64 is an unlockable weapon power-up called the "Cyclone" which allows the player to strengthen the power of their weapons. There is also the inclusion of an elimination counter that gauges how many opponents were eliminated in a race by the player. This paved the way for the Eliminator mode introduced in Wipeout 3.

Unlike its predecessors that allowed split-screen between two players, Wipeout 64 introduces split-screen for a maximum of four players for the first time. Wipeout 64 also introduces a new addition named Challenge Mode where the player has to complete sets of challenges in predefined classes and tracks through either getting the fastest time in a Time Trial, the highest placing in a race, or eliminating the most opponents through a weaponry-based deathmatch.

Most of the tracks in Wipeout 64 feature mirrored layouts of circuits from select tracks in Wipeout and Wipeout XL, set in different locations. Some conversions are not perfectly accurate, as some corners were eased or cut entirely, elevations were changed, and there were no split track sections.

Development
Wipeout 64 was developed by Liverpudlian developer Psygnosis. After rumors that several publishers had approached Psygnosis about developing a Wipeout installment for the Nintendo 64, Psygnosis officially announced Wipeout 64 in April 1998. Development began in February 1998 and it took a total estimated amount of eight months to complete the game. Psygnosis originally intended to publish the game themselves with Sony Music Entertainment handling the distribution for Europe, but in September, Midway obtained publishing and distribution rights. It is a rare N64 title with noticeable load times, disguised by the request 'Please Wait', due to sound decompression times. Wipeout 64 utilized the N64's analogue stick, making ships more responsive than the series' predecessors. Rather than creating a full-fledged sequel to Wipeout 2097, Psygnosis decided to use Wipeout 2097 and tweak its design. Senior producer Andy Satterthwaite stated that Wipeout 64 is a brand-new game and not a port of its predecessor, due to changes to the game structure, new race tracks, and new features. During development, Psygnosis were impressed with the precision of the Nintendo 64 controller's control and were able to make the aircraft curve turns without sacrificing speed. One of the improvements that Psygnosis made from its predecessor is allowing the aircraft to hit the walls of the racetrack without coming to a complete halt.

Audio
Despite the limited capacity of a game cartridge, Wipeout 64 fit nine music tracks, mostly by composers Rob Lord & Mark Bandola (credited as "PC MUSIC" in-game), with additional tracks by Fluke and Propellerheads. Unlike both of its predecessors, Psygnosis' in-house music team, CoLD SToRAGE, did not produce music for this game, although CoLD SToRAGE's works do make an appearance in future Wipeout games.

Race announcers bridge preceding Wipeouts and Wipeout 3 by having a male voice declare what weapons are about to be used against the player; a female voice welcomes players to the courses and announces in-race events and the result.

Reception
The game received mixed reviews among both considerable praise and criticism from critics. The game received an aggregate score of 84/100 from Metacritic. Reviewers were generally impressed with the innovation and complexity the game offered; mostly stating that Wipeout 64 had "everything a futuristic racer needs, a large variety of tracks, well-designed craft, weapons, numerous game modes and speed".

The graphics were well-received from critics. IGN remarked that Wipeout 64 was a superior game to F-Zero X. IGN praised the game on its graphics, saying in the verdict that the visuals "are absolutely beautiful" and that the in-game soundtrack and sound-effects were "top-notch", and that it included clean boost audio and excellent "scrape" noises. Despite the considerable praise, a negative review came from Joe Fielder of GameSpot, saying that regarding the graphics, the visuals in Wipeout 64 did not meet the par set by Wipeout 2097 that was released for the PlayStation two years prior. Fielder noted, however, that the new multiplayer mode was the game's main advancement over the previous titles. Next Generation praised the game, stating that "Wipeout provides a much sought-after experience and does it brilliantly".

Most reviews compared the game with F-Zero X which was released a month earlier, with the general assumption that Nintendo's own futuristic racer offered more tracks and racing craft, but Wipeout 64 contained superior track designs and atmosphere. GameSpot criticized the game, saying that "WipeOut 64 isn't horrible, it just feels like the developer's first effort for the system at times – which it is". "Sayewonn" of Gaming Age praised its new innovations, especially its analogue control, saying that "adapting analogue controls was the biggest improvement racing games made and Wipeout 64 demonstrates that beautifully". Sayewonn also noted that the game still had a "learning curve", noting that "it's not as brutal as the first game but definitely harder than the far easier XL". Despite being complimentary of Wipeout 64, both GameSpot and Gaming Age recommended purchasing F-Zero X instead. Gamepro gave a positive review of the series, praising its music, controls, and variety of the game. Gamepro, in addition, compared the game to Extreme-G2 and F-Zero X: "While Extreme G-2 may match Wipeout in content, it simply can't compete when trying to match W64's speed and F-Zero X isn't even in the same league".

Opinion is divided on whether Wipeout 64 simply merges the good points of the previous two games, or is different enough to be considered a sequel in its own right. Praised elements include "prettier" and "grittier" graphics compared to F-Zero X. Pop-up and a slow frame rate are repeatedly mentioned as problems, but only when the screen is split up to three or four times in multiplayer mode.

title: Wipeout 64


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Wipeout Fusion

Wipeout Fusion (stylised as WipEout FuSion) is a futuristic racing video game developed by Studio Liverpool and published by Sony Computer Entertainment for the PlayStation 2. It is the fifth instalment in the Wipeout series and was released in February 2002 in Europe, and in June for North America. It was the first Wipeout game to be published on the PlayStation 2. The game takes place in 2160 and revolves around players competing in the F9000 anti-gravity racing league.

Wipeout Fusion received positive reviews upon release, with particular praise being directed at its techno soundtrack, but its graphics and track design received mixed responses from critics.

Gameplay

Wipeout Fusion is a racing game which is set in 2160 and revolves around players competing in the F9000 anti-gravity racing league. Players control anti-gravity ships owned by large racing corporations (collectively referred to as "teams"). Overall, the game contains 45 race tracks, 32 ship models, and 26 weapons. There are eight teams in Wipeout Fusion, each having a lead pilot and second pilot – players can choose which pilot and team they want to use before a race. Each ship has its characteristics; depending on the team selected, a ship will vary in terms of speed, acceleration, manoeuvrability, shield strength, weapon power, and mass.

The game has four race modes. Arcade mode involves a standard single race, in which the player must race against opponents and finish first to earn a gold medal; securing second or third place will reward the player with a silver or bronze medal, respectively. The AG League contains ten tournaments; each tournament has 3 to 7 races with sixteen competitors. Money is awarded at the end of each tournament as a result of time, damage, and skill bonuses. Players can use money to upgrade the appearance and performance of their ships. The other two race modes are "Zone" mode, which revolves around survival as the player's ship automatically accelerates to extreme speeds, and time trial mode, where the player may record their best lap times.

In addition, the game features a variety of weapons which can be utilised to destroy other opponents or for self-defence. Offensive weapons include rockets, plasma bolts, missiles, and grenades, whilst defensive weapons range from deployable mines to energy shields. Every ship is also equipped with a standard energy shield which will protect the player from damage caused by collisions or weapon fire. If a shield runs out, the ship will explode and the player in question will be eliminated from the race.

Development and release
The game was developed by Studio Liverpool (formerly known as Psygnosis prior to 2001 ). After the success of Wipeout 2097, the studio wanted to aim their next game at an "older, savvier crowd". Shortly after the release of Wipeout Fusion, chief designer Colin Berry said in a retrospective interview that he became disillusioned with the way the Wipeout franchise was trying to emulate games such as Nintendo's F-Zero GX. Wipeout Fusion was announced to be published in North America by Bam! Entertainment in March 2002, after a delay in receiving the publishing licence by Sony's American division. The game was ultimately released in Europe on 8 February 2002, and in North America later on 18 June.

Reception
Wipeout Fusion received generally favourable reviews upon release. It holds an average score of 83 percent from Metacritic based on aggregate of 21 reviews.

The graphics received mixed opinions from critics. Rick Sanchez of IGN felt disappointed with the game's visuals, opining that its graphics had not changed since he had played it at E3 2001. Sanchez stated that the game looked like an "early first generation PS2 game", and asserted that had it been released a year from writing his review, the graphics would not have looked as dated. Louis Bedigan from GameZone praised the game's attention to detail, stating that the game's visuals had improved by "110%" since Wipeout 3 and thought a lot of time was put into Wipeout Fusion's graphics, resulting in "something truly extraordinary". John Kauderer of GameSpy praised the game's key improvements over its predecessor – in particular its cutting edge graphic design, stating that it "sets [the game] worlds apart from the tired side scrollers and kiddy characters that populated the 16-bit systems". A reviewer from GamePro enjoyed the game's "slickly renovated" graphics. Ryan Davis of GameSpot criticised the game's visuals, asserting that although the track designs appear more "flamboyant" over Wipeout 2097, the game "keeps its visual flash to a minimum". Additionally, Davis also expressed disappointment in the lack of awe-inspiring tracks, as well as the game's occasional slowdown and graphical pop-up issues. In contrast, Tom Bramwell from Eurogamer considered that Wipeout Fusion's only improvement from its predecessors was its improved graphics engine.

Critics praised the game's techno soundtrack and recognised that it was an important part of the Wipeout series. Sanchez opined that the soundtrack from the previous Wipeout games—as well as Wipeout Fusion—are "good enough" to buy separately. Sanchez also commended the game's sound effects and music, stating that both aspects are "dead on for a member of the Wipeout family". Bedigan enjoyed the soundtrack, saying that every song was "addictive" and "suits the game's 'extreme' feel". Kauderer thought that the game had an exceptional soundtrack, stating that since the use of licensed music in Wipeout 2097, the franchise had "changed the face of the industry forever", although he opined that Wipeout Fusion had lost "that cool edge". Davis praised the "hard hitting" techno soundtrack; saying that it was a type of music "you'd want to listen to even when you weren't playing the game". Bramwell, on the other hand, criticised the game's choice of music, stating that the soundtrack feels "like a practical joke" and admitted to muting the music. A reviewer from Edge lauded the soundtrack, describing it as "excellent, trance-inducing", but also said that the gameplay "has failed to keep up with the times".

title: Wipeout Fusion


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Wipeout Pure

Wipeout Pure (stylised as wipE′out pṳrE) is a futuristic racing video game developed by Studio Liverpool and published by Sony Computer Entertainment for the PlayStation Portable. It was released in 2005 on 24 March for North America, on 7 April in Japan and on September 1 in Europe. In North America and Europe, it was a launch title for the platform.

It is the sixth installment of the Wipeout series. The game takes place in the year 2197, exactly 100 years after Wipeout 2097, and revolves around players competing in the FX300 anti-gravity racing league. Developed by Studio Liverpool, production of Wipeout Pure started in August 2003 and lasted until early 2005. Throughout development, the team created entirely new user interfaces and other algorithms which sped up the development process in time for the PlayStation Portable's North American launch.

The game received positive reviews from critics upon release. Reviewers unanimously praised the graphics, track designs and general aesthetics, but some noticed occasional frame rate fluctuations.

Gameplay
Wipeout Pure is a racing game which is set in the year 2197, exactly 100 years after the events of Wipeout 2097, and revolves around players competing in the FX300 anti-gravity racing league. Players control anti-gravity ships which are owned by racing corporations (effectively referred to as 'teams' in-game). There are a total of eight teams featured in the game, with one ship available for each. Every ship has different characteristics, for example each ship has variations in handling, thrust, maximum speed and shield strength. Each craft is equipped with an energy shield which absorbs damage sustained during a race; energy is lost whenever the player's ship collides or is hit by weapon fire. If the shield runs out, the player's ship will explode and is consequently eliminated from the race. However, the player may replenish energy by absorbing weapon pick-ups.

In addition to shielding, each ship has air brakes which can be utilised for navigating through difficult corners at high speed. The game also features several weapons which can be used against opponents, although some weapons have defensive purposes. For example, an autopilot will give control of the player's ship over to the computer for a short period of time, and shields can be used to protect the player's ship from all damage, albeit temporarily. Offensive weapons include rockets, missiles, plasma bolts and mines. Game modes include a single race, tournament, time trial and an exclusive "Zone" mode, which revolves around survival as the player's ship increasingly accelerates to extreme speeds. The game also features an online multiplayer mode in addition to downloadable content, which features new ships, tracks and music.

Downloadable content
Wipeout Pure was the first PSP title to support downloadable content including extra vehicles, tracks, and artwork free of charge via the Internet. Packs of downloadable content were made available every month for six months. There were three main packs, in one form or another, in all regions where DLC support was made available: Gamma, Delta, and Classic. In addition, there were also a number of region-exclusive packs that was only available for a specific version. DLC packs are not cross-compatible. They were released on the Wipeout Pure official site, which was eventually shut down, but have since been preserved through third-party websites.

Region differences
To compensate for the delay of the launch in Europe, both for the PSP and its games, Studio Liverpool added a few new features to the European version. Wipeout Pure supports game sharing which allowed owners of the European version the ability to send the demo version over Wi-Fi to other PSP owners who do not own Pure. This gives said players the ability to have up to 8-player games with only one copy of the game (but limited to the demo tracks). Another feature added was the playable demo for Fired Up and a MediEvil: Resurrection movie demo. The Fired Up demo also supported game sharing for multiplayer with up to 7 friends who didn't own a copy of Pure or Fired Up, but only on the "Junkyard" and "Arctic" levels. Finally, the European release contains four exclusive tracks then-available via download. These are named the Omega League. Aside from the American, European, and Japanese versions, there are two more versions: a Korean version with downloadable content support but no available downloads, and an Asian version which includes no download feature. Also, there was a demo for the game, which came bundled with the UMD release of the 2005 film, Stealth.

Development
Wipeout Pure was developed by Liverpudlian developer Studio Liverpool. Pre-production of the game began in August 2003 and full production occurred in October of that year, with only two staff members working on the game at that time. The team received development kits for the PlayStation Portable in August 2004; by this time the development team had grown to twenty people. Dave Burrows, one of the original two staff members who conceptualised the game, reflected in a retrospective "post-mortem" that the studio had to learn from their previous mistakes with their predecessor, Wipeout Fusion. Burrows cited that one of the principal difficulties the development team faced was that the team's artists and designers were "fighting almost all of the time"; designers would first design a track for the game, then pass it over to the artists whilst the former were still making adjustments to it. Burrows also recalled that the developer's editing kits required many hours worth of "tweaking", which ultimately did not result in a smooth workflow.

During development, the team set out to make the game playable for testing as soon as possible. Burrows explained that Studio Liverpool were forced to create a user interface "entirely from scratch", along with dynamics, artificial intelligence and core elements before testing could commence. Development of each of these aspects were split into six-week cycles; Burrows stated that instead of the team spending six weeks designing and perfecting all the weapons in-game, the team spent three days designing weapons individually rather than simultaneously. Burrows recalled that whilst developing Wipeout Fusion, Studio Liverpool found that half of their time was being "soaked up" by building a user interface for their editor. As the team knew that Wipeout Pure would have to be shipped out in time for the PlayStation Portable's release, the decision was made to create new plugins for their software, Autodesk Maya, in order to save time during development.

After creating custom plugins for the 3D computer graphics software, Burrows claimed that the team could create and test entire race tracks within five minutes. The custom plugin used for creating tracks consisted of a 450 kilobyte file, which contained polygon subdividing and data on artificial intelligence, effectively cutting down the time to create tracks from six hours to five minutes. In order to the play the game as soon as possible, the team developed the user interface in the XML markup language, which allowed revisions to be made for the content at any time. However, Burrows recalled that the only downside to converting everything to XML was that the game was always in danger of becoming too large for the PlayStation Portable's Universal Media Disc. The game's cover art was designed by Popgun, who also designed the logos for games released by EA Sports.

In order to showcase the PlayStation Portable's capabilities, the team had to develop a download system that could provide the game with future downloadable content, which included new tracks, music and ships. In addition, Burrows realised that new downloadable content had the potential to bring in more revenue for Studio Liverpool. In order to achieve this, the team had to find a way to bypass the problems involved in getting the PlayStation Portable to recognise download files. The solution required the use of piggybacking game data to a valid format recognised by the PlayStation Portable; in which a dummy file would be used on a web-based Java application.

Reception
Wipeout Pure received positive reviews upon release. It holds an aggregate score of 88% from Metacritic based on 53 reviews.

The graphics were the most praised aspect of the game. Ryan Davis of GameSpot said that the visuals were "gorgeous" and breathtaking to look at, both in ship designs and details of the tracks. Davis noted that the game never remains at a "solid" 60 frames per second, which can cause occasional fluctuation. A reviewer of GamePro similarly praised the visuals as breathtaking, stating that the "beautiful" panoramic scenery defied the notion of usual graphics displayed on a handheld console. Ryan O'Donnell of IGN considered the graphics to be the strongest aspect of the game, saying that its courses, weapon detail and ship designs were "beautiful", but he found that occasional framerate issues kept it from "perfection". Daniel Chang of GameSpy opined that the visuals were "well-crafted as any video game or feature film". John Davison of 1UP stated that both the game's presentation and graphics were stunning and "absolutely beautiful". A reviewer from Edge similarly praised the aesthetics as "beautiful" and dynamic. Andy Kelly of GamesRadar stated that the visuals were well-designed, although he noticed some frame rate drops.

Critics also viewed various aspects of the gameplay favourably. Davis said that the high-speed gameplay was "incredibly engaging" and artistic on both a visual and technical level. A reviewer of GamePro enjoyed the idea of using different ships in races and also praised the game's online multiplayer, stating that it "adds a whole new dynamic to the game". O'Donnell cited the developer's intention of blending ultra-fast gameplay as "clever". In addition, O'Donnell acknowledged that Studio Liverpool "learned from their mistakes" from the poor gameplay of its predecessor, Wipeout Fusion, and created what O'Donnell considered as "the most polished futuristic racer to ever hit the market". Chang similarly opined that the previous installment was "obtuse" and did not present a positive experience to the Wipeout franchise, although he agreed that Wipeout Pure resulted in becoming an "extremely polished" and playable futuristic racing game, further adding that the developers trimmed off elements that were considered ineffective in previous games. A reviewer of Edge praised the game's different modes as dynamic and vicious, stating that the game delivers an "absolute" sense of control. Kelly considered the online multiplayer "superbly executed" and the large amount of weapons in the game well-designed.

During the 9th Annual Interactive Achievement Awards, Wipeout Pure received a nomination for "Outstanding Achievement in Soundtrack".

title: Wipeout Pure