Premature Ejaculation Treatment



Premature Ejaculation Treatment Discovered: It Could Be a Relief to Men with PE Issues

When we searched Google stats for the topic of premature ejaculation, we found a whooping half a million searches on the topic every month. And in the U.S alone, this meant 1 in every 3 men suffering from premature ejaculation (according to The Journal of Sexual Medicine).

But now that men continuously look for solutions that will help them last longer in bed, are they hitting a dead end so soon? This will most likely catch you by surprise.

last longer in bed

Last Longer in Bed Pills: Light at the end of the Tunnel

You see, pills, gels and even injections have been created to help men last longer in bed. However, non of these have proven to be effective. Consequently, this has led to more studies being conducted on the topic, most of which have not yet succeeded in getting a holistic solution but I read some interesting facts on this blog where it has some interesting facts and some good answer to the question how to last longer always in bed, something they claim permanent solution for premature ejaculation.

But as we speak, clinical trials are currently going on in Australia and United States on a new treatment that could mark the turning point for men who suffer from premature ejaculation.

This treatment remarkably works by blocking an element known as Oxytocin, or ”Love Hormone” from binding to body cells. Consequently, this will have an effect on men and the time-frame in which they should ejaculate.

Why This Treatment Remedy Will Most Likely Work

This treatment, which is in form of a pill, was designed by U.K scientists to help treat this problem between the sheets. The treatment is currently undergoing further scrutiny in the said countries. If found to be effective, it will outshine all the ”last longer in bed pills” available in the market.

It is said that the treatment won’t have any side effects, compared to what men with this problem have been experiencing with other pills. Currently, the only treatment available in the market goes by the name Dapoxetine. The problem with this pill is that it comes with a host of side effects that people consuming it may not be ready to deal with. It’s usually prescribed by doctors treating PE issues.

The Reason not all Men Can take Dapoxetine

Men who suffer from either kidney, heart or liver diseases must not take Dapoxetine. Once again, even if they don’t suffer from these conditions, they risk developing headaches, nausea or feeling of dizziness during and after sex — which isn’t really conducive for great love-making.

We know that topical applications have been manufactured in the past to deal with this situation. However, even with these numbing creams, individuals haven’t found any satisfaction as they don’t work as accurate.

The Working of the New Pill in Town

Known as oxytocin-antagonist, this pill is in its advanced steps to restoring sanity to men with PE issues. The hormone Oxytocin, has been shown to promote the feeling of bonding during intimacy. The said hormone is also released in substantial quantities in response to touch, and when a person hits their climax, i.e orgasm.

However, the new pill banks on the fact that it can prevent this hormone Oxytocin from latching on cells within the body to prolong the time in which a man should ejaculate.

Final Word

This pill definitely sounds legitimate. It has worked successfully in animals, and now it is being tested in 90 men to establish if it will be effective before being released into the market. As for now, we can only wait for the best outcome.



Essentials of research design and methodology

In recent years, the results of various research studies have taken center stage in the popular media. No longer is research the private domain of research professors and scientists wearing white lab coats. To the contrary, the results of research studies are frequently reported on the local evening news, CNN, the Internet, and various other media outlets that are accessible to both scientists and non scientists alike. For example, in recent years, we have all become familiar with research regarding the effects of stress on our psychological well-being, the health benefits of a low cholesterol diet, the effects of exercise in preventing certain forms of cancer, which automobiles are safest to drive, and the deleterious effects of pollution on global warming. We may have even become familiar with research studies regarding the human genome, the Mars Land Rover, the use of stem cells, and genetic cloning. Not too long ago, it was unlikely that the results of such highly scientific research studies would have been shared with the general public to such a great extent. Despite the accessibility and prevalence of research in today’s society, many people share common mis perceptions about exactly what research is, how research can be used, what research can tell us, and the limitations of research. For some people, the term “research” conjures up images of scientists in laboratories watching rats run through mazes or mixing chemicals in test tubes. For other people, the term “research” is associated with telemarketer surveys, or people approaching them at the local shopping mall to “just ask you a few questions about your shopping habits.” In actuality, these stereotypical examples of research are only a small part of what research comprises. It is therefore not surprising that many people are unfamiliar with the various types of research designs, the basics of how research is conducted, what research can be used for, and the limits of using research to answer questions and acquire new knowledge. Rapid Reference 1.1 discusses what we mean by “research” from a scientific perspective. Before addressing these important issues, however, we should first briefly review what science is and how it goes about telling us what we know.


Ghost Recon: Future Soldier

Ghost Recon Future Soldier

Ubisoft breaks cover and reveals its variety show of a stealth

Publisher: Ubisoft
Developer: Ubisoft Paris, Ubisoft Red Storm
Format: Xbox 360. PS3
Origin: France, US
Release: May

According to Ubisoft Paris level designer Florent Guillaume, the process of making Ghost Recon: Future Soldier “was an interesting way to work. There was lots of prototyping, with levels like gameplay blocks we could rearrange.” The truth of his words becomes evident in our hands-on session with the singleplayer campaign: no two missions feel the same, and the most polarised, and gripping, of those we dip into are opposites in both pace and structure.

The first is a manic shootout through the streets of Peshawar, Pakistan. With traffic at a standstill, you and your three fellow Ghosts need to push through a miniature army of enemy soldiers and panicked oncoming civilians to reach the other end of the main street. Vehicles can be used for cover, but the aggressive enemies, many wielding shotguns and hellbent on close-range kills, mean that you have to keep your blind spots under careful observation. The best strategy, then, is to make use of your gadgetry. Throw a drone up into the air (selected with the D-pad and launched like a grenade with a tap of the left bumper) and you can scan the area ahead for hostiles. Its elevation needs to be controlled via triggers to avoid detection, but once you have the enemy in your sights a press of the right bumper can tag up to four units for your squadmates to prioritise or eliminate simultaneously on your command.

Civilians react dynamically, meaning their crazed dash is unpredictable and alarming

Objective commands such as these and orders to heal downed teammates are the only directions you need to give your squad — they will otherwise traverse the warzone of their own accord, never breaking cover unless ordered to do so. This means not having to worry about Al foul-ups, or about pathfinding mistakes that might screw up your game plan, freeing you to focus on keeping yourself alive, which is easier said than done. That’s because the Ghost Recon series’ use of realistic levels of player vulnerability has survived the leap to this latest iteration, giving the game a sense of threat that’s rare in the genre outside of the likes of Operation Flashpoint. There’s also the added factor of civilian casualties: if too many die, then it’s game over. Civilians react dynamically, too, meaning their crazed dash through the streets — like a scene from the running of the bulls in Pamplona — is both unpredictable and alarming.

Having taken down the immediate threats in our recce of the level, there’s the small issue of a turret gunner blocking our path to victory before a chopper evac and traditional he.i-gun section. To overcome this obstacle, a downward tap of the D-pad fires up your X-ray vision, allowing you to snipe through a vehicle and move on to the next phase of the mission. If that sounds a little like science fiction, the team remains adamant that it has grounded its tech and tactics in realism. It was even aided by a team of special forces consultants during development of the game (and, not least, the guiding hand of series veteran Ubisoft Red Storm). If there’s a bad note in the Peshawar mission, it’s the helicopter gunning part. Less attractive than those of previous games, and more tedious, it’s a break in the level’s flow that comes off as forced, its linearity clashing with the open-ended feel of the preceding section.

The next mission we plunge into couldn’t be pitched further from the clear and present danger of Peshawar. Set in a deep forest that’s dense with vegetation and gorgeously detailed, there’s a deadly silence to the atmosphere that instinctively causes you to take cover every step of the way. This is when Future Soldier’s camouflage system comes into play. Staying in cover and moving slowly causes your stealth camouflage to kick in automatically. If you’re detected or move too briskly, you’re plain for all to see. There’s a user-friendliness here that feels more casual than the unforgiving nature of classic Ghost Recon, but it’s another thing less to worry about as you creep and crawl through the undergrowth, surveying enemy outposts disguised as, and surrounded by, lumberyards. Melee stealth kills come in handy on your approach to the enemy bases and close-range weapons prove integral to the claustrophobic shootouts that erupt in a split second. Roadie runs to and from cover are vital in the thick of it, too, and the camera’s bob and sway gives the action a cinematic slant. The motion capture of the Ghosts, with an alleged 2,500- plus animations, also adds a level of realism as you roll over and dive into cover.

The overall look of the game, however, feels removed from the more gritty, hard- edged and rather clinical look of previous titles. Character models are chunky and rounded, and the environments themselves look far more colourful and inviting than the cold, barren sterility of Ghost Recon: Advanced Warfighter. There’s a gloss to Future Soldier that screams casual rather than hardcore, which is perhaps a result of the military- themed shooter’s paradigm shift to narrative- led, Holly wood-style thrills since Ghost Recon*s previous console outing in 2007.

Environments take in everything from homages to original Ghost Recon maps to sprawling urban warzones. The visual design is far less sci-fi-orented than that of E3 2010′s demo: the general idea is to keep the narrative and feel as close to Tom Clancy canon as possible

Although the settings and style of the two missions we see are vastly different, both can be tackled with either strategic stealth or gung-ho gunnery — there’s no wrong way to navigate Future Soldier’s skirmishes and tackle its threats. Playing the scenarios with three human squadmates will be the true test of the game’s strategic options and replay value, but on this showing there’s a variety to combat that gives you a strong sense of being in charge without drowning you in menus. As a halfway house between action game and military simulation, Future Soldier simultaneously strikes the chords of accessibility and depth that Operation Flashpoint so fatally missed last year. If the rest of the missions on offer can build on the

While Future Soldier may have been designed as a cooperative experience, the quality of the enemy and teammate Al is strong enough to make it a considerable proposition for lone players. As such, the absence of a narrative in our time with the game, even though it’s never played a prominent role in the series to date, is now more noticeable. Future Soldier’s vibrant new aesthetic feels in dire need of a coherent story to add some blockbuster intrigue to its luscious looks, and hopefully the writers have spun a Clancy-style yarn bold enough to match its production values.

What are ya building?
Gunsmith mode is a rifle range that allows you to test and create weapons, the latter being done with parts earned through the campaign. Bizarrely, it supports Kinect, too. Hand gestures flick through weapon sets and dismantle guns for you to reassemble as you please (providing you adhere to plausible combinations). Shout ‘badass’ and you’ll be provided with a randomised firearm fit for a hero. In the range, your outstretched arm, fist clenched, aims the weapon, while opening up your hand fires. Tilting left or right moves you around. It’s entertaining, but after a few minutes’ play you’ll likely want to revert to a controller variety and scale that’s been demonstrated here, Ubisoft might well be able to offer something for everyone. We do know, however, that they’re set to take place on an international stage that includes Russia, and with a few nods to classic Ghost Recon maps.


Great expectations

Bertie Gregory is just 18 years old, but already he has a number of remarkable wildlife images in his portfolio. He talks to Oliver Atwell about his approach to photography, the future and his involvement with the 2020 Vision project

There is a new young generation of enthusiasts entering the world of photography We profiled one in AP 10 December 2011, when we interviewed 18-year-old macro photographer Jack Hood. We’ve also seen a number of young photographers submitting images to our Reader Spotlight pages. What’s perhaps most impressive, though, is the quality of photographs being produced by these young amateurs, and 18-year-old Bertie Gregory is no exception.

Bertie’s portfolio of wildlife images has steadily grown over the past few years to form an impressive body of work, the likes of which would make any seasoned professional jealous. Crucially, Bertie’s dedication to photography – as well as his passion for the natural world – has led to him being selected as one of 20 young photographers to contribute work to 2020 Vision, a multimedia project that is attempting to address the link between people’s well-being and the restoration of natural environmental systems. The fact that he has managed to accomplish this at just 18 years old makes it all the more impressive. Yet Bertie has received no college or university training in photography, although he is currently studying zoology at the University of Bristol, and is entirely self-taught.

‘My awareness of photography came from my dad/ says Bertie, who comes from Poole in Dorset. ‘He was always taking photographs on holiday. That gave me some degree of understanding of how cameras worked. Since an early age, I’ve always had a passion for wildlife and the great outdoors. When I was 12,1 received a little underwater compact camera for my birthday. My brother was working in Egypt at the time, so I got to go out there with my family and experiment with the camera. I absolutely fell in love with coral reefs and would spend hours snorkelling. None of my photographs were very good, if I’m being honest, but it gave me the practice I needed to form a real idea of how to photograph wildlife within its natural environment.’

Bertie quickly realised that his photography could essentially act as a portal to show his love of the natural world. In many ways his images can help people to understand the environment that surrounds them, and perhaps even inspire them to get out there and explore their world with fresh eyes.

‘Knowing that people are going to be looking at your images really pushes you to try to get the perfect shot,’ says Bertie. ‘You’re doing your best to communicate the outdoor experience, so you have an obligation to do it right.’


Bertie’s images are notable for the wide variety of wildlife that he photographs, both at home and abroad. ‘Things like lions and wolves in other countries are very exciting and I’d never turn down an opportunity to photograph those creatures,’ says Bertie. ‘However, I think it’s incredibly important that everyone has a love of the wildlife that is living just outside their front door. People seem to have this attitude that British wildlife isn’t exciting, but you only have to look at the work of some photographers shooting British urban wildlife to see how exciting our own native animals are. There are fascinating creatures everywhere.’

As exciting as Bertie’s UK wildlife imagery is, one of his most interesting projects occurred some 5,300km from our shores. Last summer, he spent some time photographing bears in Canada. Through a rather clever technique, he was able to produce a selection of images that get about as close as anyone would wish to get to these intriguing creatures.

‘Sometimes I’ll know months in advance what I want to photograph,’ says Bertie. ‘Then I’ll be able to plan every detail. For example, when I worked for a wildlife tour guide in Canada last summer, I knew that I’d be seeing bears so I was able to previsualise the images and work out exactly how I’d go about achieving them. I knew that I was going to be out there for around two months, so I could take my time trying to find great shots.’

The seed of Bertie’s idea came from a desire to get a new and exciting perspective on the bears. ‘I had an idea to leave my camera with a wideangle lens attached on the beach where I knew the bears would be,’ he says. ‘I understood that if they saw the camera they’d approach it right away because it’s an object that’s alien to their environment. Their curiosity would carry them towards it to have a good sniff around. With that in mind, I knew that it would give a perspective that I wouldn’t be able to get if I were there with the camera in my hands-arm, anyway.

I came up with the idea of designing an indestructible housing that I called the “Bear Box” – I had an idea to leave my camera on the beach where I knew the bears would be.’

Bertie constructed his Bear Box out of a Peli case, a waterproof and virtually indestructible casing that’s designed to carry cameras from location to location. After a couple of phone calls, Peli, the case manufacturer, agreed to sponsor Bertie’s project and sent him out some cases to use.

‘I modified the cases by cutting a hole in the side and placing a piece of protective glass over the opening,’ says Bertie. ‘I then put the camera inside and hoped for the best. I had a little red inflatable boat at my disposal, so when I wasn’t working as a guide I was out in the boat. The bears would come down to the shore during low tide.


A Collector’s Life For Me: The final frame Kodak Instamatic 500

When Tony Kemplen resolved to use a different film camera each week, he discovered a treasure trove of lost gems

instamatic photgraph

Say the word ‘Instamatic’ and the first thing to come to mind (for those of a certain age) is likely to be the mass-produced, ultra-basic, chunky little cameras that were the staple of family and holiday snaps in the 1960s and ’ 70s. Made by the million, the Instamatics used the foolproof 126-cartridge system, taking 28x28mm square images on 35mm film and had just one perforation per frame. Even though the cartridges are no longer made, I bet many a household has one of these cameras tucked away somewhere. They are still a very common find in charity shops and at car-boot sales, but sadly the chances of using them are very slim. Short of reloading an old cartridge, a process which is elaborate and far from perfect, the only hope is to find an unused film, which will of course be considerably out of date and possibly wildly expensive. I’ve seen a 30-year-old cartridge fetch more than £20 on eBay, but luckily I managed to pick up a couple for less than a fiver each.

The Instamatic 500 is a cut above the run-of-the- mill point-and-shoot models. It has an f/2.8 Xenar lens, a built-in coupled exposure meter and a Compur shutter with a range of speeds. Mine was a car-boot sale find, and it has its own very smart leather case with metal trim. To me, the camera has a very 1970s look to it, so I was surprised to learn that it was actually made in 1963 – it must have looked ahead of its time.

Even though it is nearly half a century old, the built- in selenium exposure meter, which bears the badge of the respected meter manufacturer Gossen, still works perfectly. There’s a lot to be said for systems that don’t require batteries, which can be the bane of the collector-photographer’s life. The two main problems most often encountered are sourcing obsolete 41 kit, which I am becoming quite familiar with now

I took the Instamatic 500 with me on a trip to London and was able to make full use of the manual settings to take photos in dimly lit tube stations as well as in bright daylight, where I found the iconic Gherkin (see below left) made a tasty composition, especially when framed with a side order of film markings.

The decision to flaunt your format by including sprocket holes, frame numbers or sheet holder marks is a matter of individual choice. I must confess that when I first saw prints from large-format negatives that included the slide masks and batch numbers, I found it rather irritating. It screamed: ‘Look at me! I use a 10x8in camera!’ But now I’ve grown to like this look. The fact that there is a well-known, best-selling app for the iPhone that will add this effect to your digital image confirms that it remains popular to this day.

Such is the scarcity of 126 film that I decided I would use only half the cartridge in the Kodak, so I could transfer it into another camera. The following week I finished off the film in the Argus Instant Load 270, which is also unusually well specified.

I was pleased with the results from this 126 camera. The square format has always appealed to me, perhaps because of its associations with medium- format photography – something that the members of my school photographic society as budding photographers used to aspire to.

It may not be much to boast about, but look at me, I use safety film.


Space blindness

Space is bad for your eyesight. Changes found in astronauts’ eye tissue may cause vision problems, and possibly even blindness.

Larry Kramer of Texas Medical School in Houston and colleagues carried out MRI scans on 27 NASA astronauts after they had spent an average of 108 days in space. Four had bulging of the optic nerve, three had kinks in the nerve sheath, and six had flattening of the eyeball (Neuroradiology, DOI: io.H48/radiol.i2iii986).

“If astronauts are showing these changes after only 100 days in space, what will happen on a three-year flight to Mars?” asks Jason Kring at the Embry-Riddle Aeronautical University in Florida.


Fungus caught on the hop

Tree frog

There is no point sending healthy animals out into the world if they’re just going to catch a deadly disease. Pacific tree frogs that can survive a normally lethal fungus infection are spreading it to species that cannot. Such “reservoir” species could threaten frogs released from captive breeding programmes.

Between 2003 and 2010, the deadly chytrid fungus slashed the populations of two frog species in the Sierra Nevada, while populations of a third species – the Pacific tree frog (Pseudacris regilla) – held steady.

That isn’t because the Pacific tree frogs avoided infection: two-thirds of the Sierra Nevada population carry the fungus, Vance Vredenburg of San Francisco State University has now found. That suggests they can tolerate infection and so could spread the pathogen to new areas (PLoS One, DOI: 10.1371/journal.pone.0033567).

Conservationists are breeding threatened amphibians in captivity in the hope of eventually re-establishing them in the wild. But reintroductions will fail if there is a reservoir species nearby, Vredenburg warns.

The solution may be to breed from frog populations already decimated by the chytrid fungus, says Matthew Fisher of Imperial College London. There is evidence that some frogs are evolving tolerance, and survivors from an affected population are more likely to have the vital genes. These frogs could be cross-bred with susceptible individuals, accelerating the spread of tolerance – although Fisher admits the approach will be expensive.


Time Bell Training – 15 Minute workout

whole body work out

Work your whole body fast with just dumbbells

• if you’ve got a set of dumbbells at home, or a wall-length rack at your gym, you can get in and out fast with this routine. You can use the same pair of dumbbells for every exercise.

Perform the exercises as a circuit. Do one set of each without rest in between. Afterward, rest one minute, then repeat for three total circuits.

1/ Clean and Press

Place the dumbbells on the floor in front of you and bend down to grab them while keeping your back flat and chest up. Explosively extend your hips, shrug, and clean the weights up to shoulder level. Press them over­head. Do 6-8 reps.

2/ Squat
Hold a dumbbell in each hand and stand. Squat as low as possible without rounding your lower back. Perform 12-15 reps.

3/ Romanian Deadlift
Hold the dumbbells in front of you thighs with your feet hip-width apart. Push yopur hips back and bend forward until until you feel you can’t keep the arch in your lower back (it’s OK to let your knees bend a little). Extend your hips to come back up. Perform 12-15 reps.

4/ Two-hand Dumbbell
Bend forward at the hips as you did in the Romanian deadliftand then row both weights to your sides. Keep your eyes focused on the floor in front of you. Perform 4-6 reps.

5/ Pushup
Place a set of dumbbells parallel to each other on the floor at shoulder width. Get into pushup position holding the weights (as shown at left). Perform pushups with your hands in a neutral grip. Do as many reps as you can.


Chris Gatcum shows you how to add focus to your wildlife photographs

Chris Gatcum shows you how to add focus to your wildlife photographs

WHETHER it be feather or fur, the textures in a wildlife image can really bring your subject to life. However, these details can also be difficult to reveal. Without a degree of sharpening, details can blend into a single homogenous tone, especially if you need to crop your shot to make your subject more prominent in the frame. All digital images benefit from a certain degree of sharpening, no matter how expensive (or otherwise) your camera and lenses are, simply because of the way in which digital images are formed. There are two options when it comes to choosing where you sharpen your images: in-camera or in your image editing software. If you record raw files, software- based sharpening is the only option, and even if you shoot JPEGs, sharpening your images in your editing program is the better option.

wild life photography

In the example here, extreme levels of sharpening

SOFTWARE USED Adobe Photoshop Cs5 SKILL LEVEL ■■■■■ TIME TAKEN 10-15mins KEY TOOLS Layers, Unsharp Mask, Masks are required, but this can have an adverse effect on surrounding areas that do not require sharpening quite so much. This usually results in obvious halos and increased noise, but there are ways to avoid these unwelcome artefacts while still optimising the sharpness of the subject. Here’s how it’s done.

Software tips and techniques Retoucher’s guide

1. Open your image and select the Crop tool. In this shot the squirrel is too small in the frame, so I’ve created a tighter, slightly less conventional, square crop. Unfortunately, zooming in on the subject in this way exaggerates the slight softness in the fur, which is what we will be resolving.

2. It’s a good idea to perform any editing on a duplicate layer so you can revert to the original picture if you need to, or blend and fade your edits for greater control over the end result. To do this, select Layer>Duplicate Layer from the main menu to create your working layer. I’ve named my duplicate layer ‘Sharpening layer’.

3. There are numerous ways that you can sharpen an image, but I employ a fairly traditional technique based around Photoshop’s Unsharp Mask (USM) filter. Start by converting the image from RGB to Lab mode using the lmage>Mode>lab Color menu option. When asked if you want to flatten your layers, choose Don’t Flatten.

4. Open the Channels palette and select the Lightness channel. This will allow you to sharpen the detail in the image without affecting the colour channels, which reduces the chance of introducing coarse sharpening artefacts.

5. Open the Unsharp Mask filter (Filter>Sharpen>Unsharp Mask] and set the Amount, Radius and Threshold. For this image, settings of 250,1.5 and 25 were set respectively. Don’t be afraid to oversharpen the image at this stage, as you can fine-tune it later.

6. Now that the entire photograph is sharpened, switch back to RGB mode (lmage>Mode>RGB Color). Again, when asked, select Don’t Flatten.

7. The next step is to apply the sharpening selectively, so that it affects only the main subject. Again, this is to prevent unwanted artefacts from creeping in. With your sharpening layer selected, choose Layer>Layer Mask>Hide All. A black rectangle will appear next to the layer thumbnail, indicating a layer mask that is concealing the sharpening.

8. To reveal the sharpening, select the black mask icon and then choose the Brush tool. With white set as the foreground colour, ‘paint’ the image where you want to apply the sharpening. This will remove the mask in that area, revealing the sharpened image behind it. Switch the foreground colour to black to paint areas back in.

9. When you are happy with the mask, adjust the opacity of the sharpened layer to refine its intensity and blend it with the raw’ background image. The end result increases the apparent sharpness of the subject, without introducing unwanted artefacts into the surrounding areas or affecting them in any other way.


Wipeout 2048

Wipeout 2048 game

The climactic campaign duels can be ranked alongside some of the series’ adrenaline- pumping highs

Publisher SCE
Developer In-house (Studio Liverpool) Format Vita
Release: Feb 15, 2012 (US) »
ESRB: E10+
Genre: Driving

As Sony embraces the future with its new Vita handheld, Studio Liverpool rewinds the timeline of its poster-child sci-fi racer. Now grounded in a more relatable near-future setting, Wipeout 2048 trades the futurism of, say, Wipeout HD or Fury for an earthier tone than fans may expect. As such, many tracks have wide lanes and are surrounded by contemporary-style architecture, drawing on the modern more than the imaginary.

It’s a less exciting visual treatment than the series’ more typical – and luminous — industrial sci-fi, and the blander setting is yoked to some disarmingly easy initial stages. At first, it feels as if Studio Liverpool has loosened up to make way for casual newcomers to Vita, but the difficulty spikes considerably in the second of the three seasons, seeing the AI step up and tracks become more intimate. As races and challenges go from cosy to cutthroat, success requires a hop into the options to remove pilot assist along with a toggle into the firstperson camera view to secure those extra inches of racing line. It sounds serious, and it is – 2048 has not abandoned the series’ hardcore sensibilities, but simply provided an entry point for a more casual crowd. One case in point where well-honed twitch reactions are rewarded is the game’s ‘skill-cuts’, which provide a get-out clause for those who have been unfairly overwhelmed by a bad hand of pick ups. These shortcuts require razor-sharp timing of sidesteps – double-taps of the air brake that strafe your craft left or right — and demand dedication to master.

Indeed, learning 2048’s tracks inside and out is as crucial as in the best Wipeouts, and Vita’s responsive thumbsticks are more than capable of handling your delicate (or nervous) twitches, meaning you only have yourself to blame for botched barrel rolls. Speed pads and power-ups are the cornerstones of many challenges, and the restrictions laid out by the designers remix tracks to brilliant, nail-biting effect, with a cannon and leech-beam race through the Downtown map being a particular standout. The locus in 2048, more than any other Wipeout besides Fury, is combat. The wider lanes enable the team to squeeze more craft and effects onscreen, and give you the leeway to bob and weave as you rattle off an array of projectiles and mines.

Sadly, Wipeout 2048 routinely forces you to contend with the barrage of detail in each stage. With all the grittier textures, it’s sometimes difficult to make out the track from the world beyond it. For once. Vita’s screen feels small as you anxiously memorise tracks framed by towering architecture and populated with elements appropriate to the setting, from flocks of birds to confetti and floating balloons. Furthermore, with a group of warring racers onscreen, the framerate can suffer. It’s not game-breaking, and it doesn’t deter you from pressing on, but it is noticeable in a series built on speed and against the 6ofps perfection of Wipeout HD.

That said, Combat (previously known as Eliminator) and Zone modes also make the transition to 2048, and while the former in particular falls victim to framerate and visibility issues, Zone sees the game at its smoothest and most addictive. The later SOL and Empire Climb maps closely capture the ambitious, intricate layouts of classic Wipeout, and the game’s climactic campaign duels can be ranked alongside some of the series’ adrenaline-pumping high points.

Of course, a core component of any Wipeout is the soundscape, and here, as a Liverpudlian might put it, 2048 is sound as a pound. From the sonic boom of a speed pad to the robotic soundbites that announce pick-ups, the audio is as rich and detailed as the backdrops. The licensed music tracks have clearly been selected to complement the onscreen action, too, but it’s a shame 2048 doesn’t allow for custom soundtracks, and the playlist is a little lean.

A multiplayer campaign, cleverly threaded together with an unlock structure that mirrors the singleplayer game, adds weight and value to the package. It brings a unique slant to Vita’s solid online potential, essentially gamifying your experience with friends by encouraging you to pursue objectives across randomly selected maps to progress. With a raft of unlockables to collect, this re-engineering of a campaign game for multiple users is one of 204S’s key successes.

Ad Hoc play also features randomly assigned modes and tracks, offering voting options between sessions, but never handing full customisation over to hosts. The general lack of matchmaking options throughout is an interesting design choice, presumably intended to discourage power-hungry hosting, but it may also turn out to be a frustration for users looking to get a fix of a particular map and mode with friends. But Vita’s Near certainly makes game hunting feel much more personal than trawling through lobbies, and it’s therefore 2048 – of all the launch games – that most strongly hints at the handheld’s online social potential.

Overall, then, Wipeout 2048 shines brightest in the relative serenity of multiplayer, with four or fewer racers on the track. The blinkers on the online segment focus the experience further, channelling its thrills into unpredictable bite-size moments, and heightening the sense of achievement and reward.

Yes, Wipeout 2048 conjures a less fanciful racing grid than we’ve seen previously, and it’s also a less immaculate, less finessed racer than the home console iterations of the series we’ve played down the years. Instead, it’s an attempt to try something new cn the newest of platforms. While it may not offer something for everyone, when it flies, it soars.