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#killis is v cool
sistervirtue · 7 months
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i think alice and virtue would have an interesting dynamic but how exactly it would turn out i am unsure. i feel like he would like her even if she ended up not being as fond of him. he'd see her as like a weird but cool aunt. his whole deal is that he got a job for the guy that murdered his parents and worked his way up to being his right hand man so he could betray him the same way his parents were and is helping his friend blackmail said boss to get her parents out of debt. he's kind of a bitch also but doesn't really show that to many people to keep up the facade of being a dutiful servent to his boss
hmmmmmm
she would definitely disapprove of the lifestyle, but i dont think shed hate him. after all, he is still doing charitable work.... and she tries not meddle in human v human affairs. after all, virtue cant stop all the murder in the world, and her job is mainly to protect them from forces they cant necessarily comprehend or properly defend against, like the divine or the diabolic.
he may end up with a weird aunt, just with her trying to dissuade him from excessive killy killy
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seansilv25 · 4 months
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Another 6 months and the end of a year, it's time fore the 2023 Audio-Visual Media Tier List finale!
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Smartphone Abridged: My god that was perfect. Too bas SWE went through hell to make it
Don't Worry, Be Fluffy: Fluffy's back, and fluffier than ever!
Subspace Fandub: Somehow, I feel like I'm not supposed to be here
Once Upon a Studio: Look, I don't care what your views on the company are, that shit was cute ok?
Nickelodeon All-Star Brawl 2: You guys know that meme of the horse drawing segmented off by drawing quality? Yeah, imagine the roster as the poorly-drawn part and you have my thoughts on the game
Steamboat Silly: The short was great, but it's kind of crazy to think Mickey is technically public domain now. Can't wait for the inevitable "Steamboat Killie" horror flick
Haunted Mansion (2023): Normally I'm not that big a fan of the Haunted Mansion because I'm a pussy but that was really good
Scooby-Doo in Springtrapped: Cute short, and it's crazy how that was all 3D animation and not puppetry
8-Bit Christmas: A surprise watch to be sure, but a welcome one
Casino Royale: My first real 007 experience. If I were to describe it, I'd say it was... shaken and not stirred
Halloween: Man this was so much better than Friday the 13th
TMNT Mutant Mayhem: Pretty neat. I never thought I'd hear Fabulous Secret Powers in a major motion picture
Abridgimon the Movie: That was pretty funny. PUT IT ON A SHIRT!
Straight Out of Nowhere: It's cute seeing Scooby and Courage interact (Thank fuck neither of them had to kill each other in DB)
FNAF Movie: I still can't believe it's finally here. Talk about development hell
Gen V: Pretty good like the main show, but a lot of the more "degenerate" aspects felt more there just for shock value
FGO First Order: My first dip into the Fate series and now I'm hanging onto a thread for dear life help
FGO Absolute Demonic Front: Like First Order but just so... SO much longer
Transformers the Movie: Neat and has a cool soundtrack. I mean, Dare to be Stupid over a junkyard chase? Bruh (Galactus still chumps Unicron BTW)
Castlevania Nocturne: Cool and all, but next time could we not skip Simon please?
Fate Apocrypha: Like the other two, but a little shorter and more "eh" (Also with 10% more femboy)
Friday the 13th: Wait, so these movies didn't start with the hockey mask Jason we all know and love? ...What?
Secret Invasion: It was fine. 'Nuff said
As is usual, you can find the other half of my thoughts on the rest of my page (Might have to dig a bit tho) but other than that, I hope whoever shall read this has a good new year! Let's see if we can at all dig our way back up out of whatever we've gotten ourselves into.
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kays-artstuff · 3 years
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:]
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crazyspookies · 6 years
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S7M1+2
So, i wasn’t planing on going back to making recaps but i had a couple thoughts that im going to leave here somewhere! :)
M1
1) This is such a nice way to start the season. Also, it kinda feels like one of those national holidays in wich you still go to school but you mostly do other activities that are nothing like your usual classes and the whole school is full of kids going aroudn doing activities or going on a little school trip you know what i mean.
2) “the patchwork cushions look cheerful, and the handmade scepter and mace are a delight!” What a nice reporter i like her.
3) Royal Roller Derby, now a tradition :’/
4) “Me and Five are just in the outer hall. It’s so quiet, anyone could hear! “ Are there any other people here? Are we like, officialy escorting janine as representant of Abel Township? I can’t imagine we’re the only source of security here, i mean, this is a peace conference there should be other people from the other major townships and royal security to make sure nothing happens to their representants, right?
6) “ Five, do you hear that? Bikes.”
Me: it begins
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7) “She’ll hear you, and beat you with an Abel pennant later! Janine’s intel is never wrong.“ Sam i love you but lmao in what delusional limbo do you live to even think janine’s intel can ever be wrong
8) “[motorcycle engines roar, laughter, glass shatters]”
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9)”And there’s a little disturbance, as we all knew there might be" I love it that we all knew that. Peace conference? Obviously someting’s going to go down
10) Ok, Sorry For Party Rocking? Best song choice ever, great party, 10/10 would recommend
11) I am so weirdly charmed by these toe eating chaos viallians. After having to deal with Sigrid, who if we go by evidence, is a generally much higher profile kind of villian, this is a lot of fun. Like, the stakes are still high, because of the whole “we are going ot be bombed to death or killied insome other way thing but. You know, Sigrid was a cold villian. A conqueror, if you will, with her fingers in many important pots, orginized and a high goverment official. The contrast from that kind of angst to suddenly being surrounded by hot blooded chaos and..a bunch of picturesque baddies who cheer and provoque and make very overt threats is pretty fun. Kinda like little guideon and the prison inmates hahaha
12) Operator Rofflenet. Nice, this is cool, this is smart.
13) “ Abel! Abel scum! Look at their uniforms!” BRING IT ON BITCH
14) Me, listening to the biker chaos: am i on the fury road
15)  “ No uniform will save you from the chaos, Abel! [laughs] Come here, little Abel. [kissy noises]” im crying bless your terrible soul you dickhead i can’t believe he’s making kissy noises and giving me classic villian dialogue this is amazing. But also, if i was actually there and someone did this at me id want to smash their face with a rock.
16) "I am getting a very Weinstein vibe from that biker” rock in the face it is
17)” We’re going to kill you slowly. We’re going to eat you piece by piece, starting with the toes “ IM SORRY BUT IM LAUGHING SO HARD COS THERE’S BEEN SO MANY SUCKING TOES MEMES THESE PAST FEW WEEKS, ESPECIALLY WITH THIS PIC AND IM CRYING
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18) I’m sorry but, what kind of bad evil cannibals put a burning manequinn on top of a van rather than an actual corpse? Like? I imagine wood takes longer to charr? So what ytou’re saying is that this absolutley was an aesthetic decision
M2
1) On the one hand i’m sad that jody always puts herself down comparing herself to janine. Like, ok, janine might be better at tactics but jody is really good and the truth is, Janine is not there so why compare yourself at all? This applies especially to season 6, because janine very literally LEFT to do a different mission and left the township in our hands. It’s of no use to think “she would do it better”, she’s not here AND she left this work to us, so that means she trusts us enough to get things done without her (and let’s be honest, that’s a great compliment? especially if janine is such a perfectionist?). So, on the one hand i don’t enjoy jody making these comments (especially because?? she’s actually a super good tactician anyway? jody istg) , but on the other i like how they twisted this by showing something jody is good better at than janine, which is diplomacy. I like how they make a note that maybe on this mission it might have been more beneficial for them to have been switched on this mission, and to have played their strengths in a more profitable way.  I feel it could be interesting to expand on this, especially with this thing jody is doing with the uhhh thingamabob to reach other countries
2) Alright, so V types. If V types bit a corpse and it reanimates, does that corpse become a V type too and is it able to reanimate other corpses? From what sam says about the biker who is turned, it seems that it most possibly yes, and if he can infect other corpses this becomes a really really bad situation. It really changes the way we have to deal with zombs AND living people who die in any way or form from now on. Corpses from people who die should probably be incinerated to make sure they cannot reanimated. I believe there’s religions that are not too hot about that (badumtss) so i guess there would have to be a difficult conversation to be had there.
I’ve been curious about how did old timey people made sure to make those V types to go to sleep though. I should look it up but I think to remember that the blue flowers and Loki the sorceress were mentioned in this. The blue flowers calm normal zombies down, and it would be interesting to try that out with the V types, see how that works. I don’t quite remember what the deal with the viking blood was but maybe there’s something to reaserch there too, seeing as it was old as balls and probably more likeley to work with the original virus rather than the new types of zombies created by sigrid.
If we got a way to get them super duper high with blue flower extract or whatever, then it might help getting rid of them. All in all, we really need to get them in big numbers and maybe move them to a location where we can get rid of them. Like, if they can infect corpses it will not take much time until we are overwhelmed by the numbers of immortal zombies yakno?
3) On this very note, peeps being idiots and not believing janine about the new V type is so infuriation lmao what the fuck mate we have already gone through so much you REALLY don’t believe us, because we didn’t do everything you wanted when you needed us to (eventhough we were, ya know, busy trying to debunk a fascist regime and all that)? that is some hard headed petty denial right there. My inmediate idea is: somehow capture a V-type, put it in a cage, and get janine and jody play good cop/ bad cop with the other memers in the house of commons, all super theatrical. Jody talks in an appeasing way, janine delivers hard facts, and then dramatically shoots the zombie in the head. Everyone gasps horrifically at the zombie still being alive and janine makes an iconic metaphorical Mic Drop ™
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4) Another thing this whole flodding that district no one lives in reminded me is that i’m really worried about is exacly how much can a zombie infect water itself? I think this Might be one of those plot hole moments because?? I think we have stated that contact with infected blood turns people, but who hasn’t been splattered by killing a zombie with an axe? Or while killing an infected person that has not yet turned? If there’s enough zombies underwater close to the beach, is a certain part of the current infected to? What about lakes or rivers? Too many corpses in general poison the water in normal circumstances so what if those corpses are infected? wont the water carry the infection? (how much water is enough to dillute it?)
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willczek-art · 6 years
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~*Jake from Resident Evil 6! :D *~
Unimportant story time, since I like talking way too much? :P Under the cut, you’re welcome :v xD
My experience with the series/Short story long: Okey, so I was never allowed to play scary-shooty-killy kinda games (I wasn't all that interested either, I'm more for platformer-adventure mulitplayer w/my sister kind of player :v)but my dad played some and I remember sitting next to him and watching bits of like Alan Wake, God of War and of course Resident Evil. Fast-forward until bit before Christmas last year, when I was really down for no reason and he randomly suggested playing RE2:Revelations, since demo was on PS4 and... Damn, it was fun xD (I played as Moira, smart choice, since I have little to no experience with shooters and she's all about that melee 8) xD) We were still in the middle of that one when we started checking if any other games in the series have multiplayer, we picked up Resident Evil 6 and started Leon/Helena campain, but soon after that our PS3 crashed, saves for both games and a lot of other stuff got lost. Since he didn't wanted to replay the sections we already went through and he doesn't want to play as guys we went with the third campaign, Jake/Sherri one, that I was not interested in... until the very first cutscene, Jake immediately got my heart (for reasons unknown).( It took me 3 chapters to realize that beyond everything I also really like his voice?? I mean it sounded familiar, I would probably figure it out eventually without looking it up, but I did checked his voice actor and wouldn't you know it it's Troy Baker xDD ) As far as the drawing goes.. on my forum we have these art prompts, you can see them on the top of the site for like a week or two, depends. You don’t have to draw for everyone of them, but then again, having all of them done is kind of an achievement, which none of us have :v You can catch up on things you missed, obviously.  Currently we’re on week #48. This drawing was made for a topic from weeks #12/13, original deadline being in the middle of July 2017 :v And it’s still pretty far fetched, because I needed an excuse to draw a cool character from a franchise that iI know nothing about just because I wanted to... Topic was Umbrella xD
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aion-rsa · 3 years
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Star Trek: Discovery Season 3 Episode 9 Review: Terra Firma, Part 1
https://ift.tt/2K92nBx
This Star Trek: Discovery review contains spoilers for Season 3, Episode 8.
Star Trek: Discovery Season 3, Episode 9
The Mirror Universe works best when we know the characters and world it warps well. The fascinations of visiting the Mirror Universe often come in observing the characters (and actors) we know and love exhibit wildly different behavior (and looks)—for example, the franchise’s original visit to the Mirror Universe came in Season 2 of The Original Series, only after we had properly gotten use to a Spock without facial hair. This is why the Discovery‘s original visit to the Mirror Universe back in Season 1, while not without its high points, was a bit of a waste of the Mirror Universe setting. We didn’t know the characters and world well enough at this point in the show’s run to appreciate the Terran deviations from the show’s status quo. (I liked Ensign Connor as much as the next fresh-faced character who died in the Battle of the Binary Stars, but when he pops up alive in the Mirror Universe, it’s more of a “huh” moment than an “OMG” one.)
By Season 3, a season with the best and most consistent characterization yet, this is no longer the case. We know Burnham and Saru and Stamets and Michael and Tilly (OK, we always knew exactly who Tilly was). In Season 1, I was constantly Googling the bridge crews’ names because the show invested so little time in giving them any kind of characterization. Now, when the Mirror Universe versions of Joann and Rhys face off in a hallway brawl for promotion, I know enough about these characters to know this would not happen in our universe. (I would still like to know more about these characters though, please.)
And we know Emperor Georgiou, better than we ever did Captain Georgiou. Season 3 of Discovery has spent a fair amount of narrative time exploring how Emperor Georgiou’s time spent with the supportive, earnest, and idealistic crew of the Discovery has changed her from a singleminded tyrant into a tyrant who also knows the Kelpien term “Vahar’ai,” and her unexpectedly earnest goodbyes with Saru and Tilly are a testament to that. This episode wouldn’t work if we didn’t care about Georgiou, if we didn’t think there was a chance that, when placed back in the ultimate position of power in the Mirror Universe, she might make different kinds of decisions after her time spent with Discovery. Because, as fun as it is to see Captain Killy again, a Mirror Universe episode needs stakes and thematic focus too. And, in “Terra Firm, Part 1,” all of that comes from Georgiou.
For as long as Emperor Georgiou has been in our universe, she has been talking about the glory of her own. She is constantly comparing the Federation to the Terran Empire, and finding the former wanting. It’s a coping mechanism, sure, but that doesn’t make her feelings on the matter any less true. Now, when Georgiou steps through Carl’s mysterious door, she is given the chance to return to her world before everything fell apart. It’s a dream come true, but is this still Georgiou’s dream? Now that she’s gotten to know our version of Michael, one with a deep well of compassion for Georgiou, surely Mirror Michael’s shallow hate hits different?
One needs look no further than Georgiou’s interactions with the Mirror Universe version of Saru, who is a slave, than to see that Emperor Georgiou has changed. When Mirror Michael orders Saru be made into dinner for a absurdly minor “error,” Georgiou saves him, making him her eyes and ears on the ship. At this point, it’s unclear if Georgiou does it because she feels something like compassion for Mirror Saru or if she simply knows she can probably trust him more than most other people around her, but it’s certainly the kind of measured move that the Emperor Georgiou we originally met never would have made.
The episode ends on an abrupt and anti-climactic cliffhanger, the kind that feels more like a “fade to black” before a commercial break than the end of a first-parter: Georgiou gets Mirror Michael to admit that she has been plotting with Lorca to overthrow her, and chooses not to kill her daughter but rather to bring her to The Agonizer. Again, is this a decision based in compassion or strategy? Is the growth that even Georgiou recognizes in herself grounded in empathy or something else? If the cliffhanger has any narrative tension, it comes in this question. Because I don’t actually care what happens to Mirror Michael; I care what it says about, for lack of a better term, Georgiou’s soul.
I’m not convinced all of this isn’t some kind of test put into motion by some “higher” power trying to decide if they want to save Georgiou or not. (That Carl guy has Q vibes, is all I’m saying.) Either way, it’s an interesting narrative thread for Discovery to follow, albeit one that probably would have been served better by an episode fully devoted to its exploration. Instead, the first half of “Terra Firma, Part 1” awkwardly checks in with some larger plots, most notably the mysterious nebula-based distress signal related to the source of The Burn, before diving into a full-on Mirror Universe episode. I would have loved to see what this story would have looked like if it could have been completely Georgiou-focused, though I also understand why that would have been hard to justify—especially for a two-parter. As it stands now, it’s hard to judge the success of this episode without having seen the next episode, so mundanely abrupt was this ending.
While “Terra Firma, Part 1” may have its structural faults, it also does something incredibly clever: it makes Georgiou the audience surrogate in the Mirror Universe, the one character who knows what we know, aligning the audience with her point of view. It creates a bond between Georgiou and the audience, and that kind of narrative element can be an incredibly powerful thing. I hope “Terra Firma, Part 2” doesn’t waste it.
Additional thoughts.
It would have been interesting to see Adira in the Mirror Universe. Are they Trill here? What does non-binary identity look like in the Terran Empire? Does Adira just murder anyone who doesn’t use the correct pronouns? Because that would be awesome.
Sonequa Martin-Green looks like she is having so much fun portraying Mirror Michael.
If this is a backdoor pilot for Michelle Yeoh’s Star Trek spinoff, then it is an impressively thorough one.
There is a Jason Isaacs-shaped hole in this episode. I keep waiting for Lorca to come around the corner and… he doesn’t.
David Kronenberg is back. He gives us some important backstory about what the heck is up with Georgiou. Basically, creatures are not made to travel too far from their own time and universe. Kronenberg only knows of one other person who has traveled through both time and away from their own universe, and… things did not end well for them.
cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });
While Kronenberg may not have an appaling solution to Georgiou’s illness, the Discovery computer does (hey, Zora), with a major assist from the Sphere data. According to the computer, Georgiou has a 5% chance of survival if she travels to Danus V. The computer gives very few details on what that chance might look like, but Georgiou and Michal eventually learn that it looks like a smarmy man in a bowler hat and a door to the unknown amidst a snowscape.
Visually, Georgiou and Michael traipsing across a deserted yet beautiful planet had to be a callback to the opening scene of this show.
It’s great for movie night, doesn’t mean we should trust, it is a hilarious and understandable take on Zora.
Saru is 100% ready to sacrifice the needs of the few for the needs. ofthe many, but “Terra Firma, Part 1” begins to ask the question: What will happen when he’s the one who really cares about the few? The distress call related to the source of The Burn came from a Kelpien ship that was investigating a dilithium nursery inside of the nebula over 100 years ago and Saru really cares about it. Kelpian, over 100 years old.
“Your crew member is drowning. If you let her, your crew will never look at you or the Federation ever again. And you’ll never look at yourself the same way again.” Admiral Vance has been a cool addition to this season.
“You’re never going to get the death you want here.” Michael, attempting to motivate Georgiou to fight for her life.
Not so unlike my Burnham. Bending people to your will. The only difference is you lie to yourself about it.
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Whenever Georgiou and Michael have a scene in profile together, all I can think about is how long and beautiful their hair is.
This episode should have been called “Death’s Alarm Clock.” Fight me.
“Where I’m from, we were prime and you were the mirror.” “As it should be.”
Saru tells Georgiou that he has learned as much from her as he did from Captain Georgiou, which same, but also Saru spent way more time with Captain Georgiou than we did.
“Number One, I suspect your crew may survive you after all.” No once can freeze out Tilly forever.
“I just cost us so much time.” Oh, man. Adira’s critical voice is so relatable. This truly is a crew of perfectionists.
Book maybe wants to join the Federation?
“Perhaps I should join your Phillipa Georgiou in hell.”
“What do you call a cute portal? A-door-able.”
“Why is it here?” “So she can go through.” Carl’s got jokes, you guys.
The way Mary Wiseman delivers that reading of Georgiou’s titles. *Chef’s kiss*
“I slept with him a few times last year, but I quickly grew bored.” Mirror Michael’s Lorca update made me laugh.
A Christ crown and absurdly high-necked robe? Emperor Georgiou has lewks.
“If strength is what my Michael seeks, she will find that I have more than enough.”
“If you have something to say to me, say it.” “You need to find better assassins”
“Do not confuse growth with weakness.” I’m just gonna keep quoting this episode.
“I was master of that trash heap.”
“As of this moment, our future is unwritten. Let’s make it count, shall we?”
Give me the Michelle Yeoh spinoff now, please.
The post Star Trek: Discovery Season 3 Episode 9 Review: Terra Firma, Part 1 appeared first on Den of Geek.
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zephyrthejester · 7 years
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Zephyr Hiatus Update #2
I’m 0:27:32 / 1:56:41 into the Madoka Magica film so far. That’s about 1/4th of the way through! Progress is coming along nicely. I think you guys can expect it to be finished and made public in 2-4 days. And after that, it’s right back into the groove with daily (hopefully) FMA:B, and plenty of new liveblog projects beyond the horizon!
I also have something really cool to share!
Killi Cat, over on the discord, just shared with me an absolutely fantastic AMV of their own making for Fullmetal Alchemist: Brotherhood. Made as a tribute of sorts to my liveblog! So touching <3
https://www.youtube.com/watch?v=1wGn_JCnJXo
There’s the link, GO WATCH IT PLEASE because Killi is one cool Cat (I’m sorry) Apparently, it’s half-finished, and Killi is waiting for me to finish the series before making the other half. I can’t wait to see it one day!
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apex-knight · 7 years
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Tagged
Fack! :V
Tagged by this bread loaf-> @alternativesaga
Nickname: APEX
Star Sign: Scorpio (pinch pinch)
Height: 5′9 (I look pretty scary in real life not gonna lie)
Last thing you googled: Iron Man armor
Favorite music artist: currently, Machine Code, Camo and Krooked, and my precious darkstep twins Gancher and Ruin
Song Stuck in Your Head:  Mick Gordon (feat. Omega Sparx) - I'm Back (to Rise)  (over and over and over and over... @_@)
Last Movie you Watched: The Space Between Us (it was cute I guess)
Last TV Show you Watched: CSI Miami (too close to home o_o)
When You Created this Blog: hmmm....don’t remember....
What Kind of Things Do You Post: art and an unhealthy amount of memes
Do You Do Asks Regularly?: lol no 
Why did You Choose Your URL?: Well you see, the term “Apex” stand for the top or elite. It could also be connected to apex predators who fear no one. And knights have always fascinated me in all mediums, whether in video games or real life.
...So I put them together cause it sounded cool -_-
Gender: Female (wish I were a robo though)
Hogwarts House: Ravenclaw I guess, they seem nerdy enough for me
Pokemon Team: Team Rocket (sorry guys)
Favorite Characters: ‘huff’
Gaster (Undertale), Killy (Blame), Gutts (Berserk), Clare (Claymore),  Seiichirou Kitano (Angel Densetsu), Mob (Mob Psycho 100), Bakugo (My Hero Academia), Ichigo (Bleach), Raiden (Metal Gear Solid), Master Chief (Halo), Issac (Dead Space) Joseph Joestar (JoJo), Kakashi (Naruto), Dandy (Space Dandy), maybe some others I can’t think of right now.
Dream Job: Ether a professional animator or a rad botanist. 
Followers: 443, they’er all cool.
Tag: anyone who made it this far and want’s to do it. -_-
Just thought I’d do this one so people can learn a little more about me.
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emmaswanchoosesyou · 7 years
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My sibling is besties with your sibling and even though we hate each other I guess we’ve got to start hanging out a little for Scarlet Beauty (we can make it Captain Swan being not besties but dating) I just really want where is Belle and Will despising each other at first!
Hey, @lenfaz– here this is, months later! I hope you enjoy these two and the disasters that they are. 
Unbeta’d, so all mistakes are mine. Rated T, for drinking and smut glitter. Around 2200 words of Scarlet Beauty, Captain Swan, and Captain Book siblings.
Also on Ao3.
something like hope
Okay, here’s the thing–Belle French isn’t entirely sure how she came to be making out with Will Scarlet on Valentine’s Day, because it sure as shit isn’t something she planned.
&&&
Four years ago
“Belle, I think I’ve met the perfect woman,” Killian says.
She smirks at her brother. “Haven’t you said that about at least three women you’ve taken home from the bar over the last year since Milah…?”
“Fuck you, this is different. I’d have thought my own sister would be more supportive.”
“Come now, Killy.”
“Not the nickname, for the love. I will dunk you into the harbor if I must. Pass me the syrup, please.”
Handing him the syrup, she looks over and sees how serious he is, in spite of the joking words. “Oh. Well, tell me about her.”
“Her name is Emma Swan, and yes, we did meet last night at the bar. But…” Killian prattles on, his enthusiasm making her think maybe he’s right about this one.
-
Killian is right, it turns out. Emma is nothing like Belle would have imagined for her friend, but they just work somehow.
They’ve been together two months when Killian drags Belle along to a party at Emma’s. It’s a way for their friend groups to meet, for them to emerge from their couply bubble and begin to interact with all their loved ones again.
It’s not that Belle doesn’t want to go, it’s just that she’s in the middle of a really good book.
Killian tells her she has to go though. “When is the last time you interacted with people who weren’t me or Merida?”
She looks at him blankly and shrugs. “But I have you two, I don’t need loads more people. And we had brunch with Emma just a few days ago.”
“That doesn’t count and you know it.”
“And why not?!”
“Because you wouldn’t have seen her or had brunch with her were I not, and I quote, ‘unable to be parted from the general vicinity of her v–’”
“I remember what I said,” she replies quickly, cutting him off before he can remind her of what she’d said in a particularly crass, drunken moment the previous week.
“Then you know my point remains.”
She scoffs.
“It’s just…you haven’t gotten out much since things ended with Gold, love. I worry.”
“Are you trying to say you liked things better then?!”
“Don’t be obtuse, you know I’m not. I just don’t want you to isolate yourself, especially when I’m not around as much as I was.”
“That sounds like it’s your problem.”
“Which is why I’m taking you with me to this party.”
“Fine. Fine,” she finally says.
-
It’s a nice party, and Belle is actually enjoying herself. Emma’s friends are all pretty cool people, from the kindhearted and lovey-dovey couple to her loud and strikingly gorgeous friend Ruby. (She tells herself not embarrass herself around the woman, but she’s drinking and can’t make any promises.)
All of them except for Will fucking Scarlet.
The man is obnoxious, to say the least. He’s loud, he’s uncouth, and she’s fairly sure he’s found himself on the wrong side of the law at least a couple times. (And she has no idea how that works, given that Emma is in bail bonds and David seems to be in law enforcement.)
But apparently he’s like a brother to Emma, the two having met in college and having been inseparable since, so she just grits her teeth and tries to bear it when he stares and makes an ass of himself with his idiotic words.
&&&
Present
He just feels so good against her, his lips trailing down her neck to suck a mark into her collarbone. On one hand, this is probably a bad idea. On the other, she can’t believe it’s taken her this long to do this.
&&&
3 years ago
Killian is moving out. He’s actually leaving.
Belle knows she shouldn’t be so surprised. After all, he and Emma have been together a little over a year at this point. They’re stupidly in love. It makes sense. And a part of her is really, really happy for them.
But it’s annoying, it’s inconvenient, and it hurts a little bit.
She’s apprehensive–she hasn’t lived on her own in five years, and she’s not really sure how to go about it anymore.
But going to the housewarming party at Emma’s and Killian’s new house is probably a good start.
-
The downside to this plan is that it comes with Will Scarlet. Over the last year, she’s seen him enough to know she doesn’t much like him. He’s rude, chaotic, and he drinks too much.
The icing on the cake had been when he broke into the library a few months before. She’d been shocked the next morning when she’d arrived at work to find him curled up on the ground, his empty bottle and a copy of Alice in Wonderland tucked in his arms.
(He hadn’t been thrilled to wake up to Belle hitting him repeatedly with a broom, either. Or with her call to Emma.)
So she’s less than thrilled when he opens the door to her. He just rolls his eyes and moves aside for her to come in, and she stomps past as quickly as possible.
She feels a little more kindly toward him a few hours later when their friends and families are celebrating, the two of them left behind by Emma’s and Killian’s burgeoning relationship. He’s out a roommate now too, and she knows how that feels.
While everyone else toasts, they meet eyes and nod at each other in a moment of understanding and kinship. Then they begrudgingly raise their glasses as well.
&&&
Present
She pulls him into her bedroom by his jacket. The jacket should probably go, actually. Maybe they shouldn’t be doing this, maybe she hasn’t planned it, but it’s probably not the worst idea she’s ever had.
No, that honor belongs to the day she finally decided Will isn’t so bad.
The day she got drunk and threw up in front of everyone she knew at Emma’s and her brother’s engagement party.
&&&
1.5 years ago
Living by herself works much better than she had thought it would, most of the time.
This is not one of those times.
For starters, there’s no one to remind her that this is an engagement, and even with their more casual crowd, it’s not the sort of event one pregames for. Then there’s the whole thing where she’s ashamed that she’s actually jealous that Killian and Emma have found each other.
Normally, it’s fine. Belle adores Emma, and they’ve gotten really close over the last two and a half years. Honestly, if she needs something or has an emergency, she’s probably a little more likely to call her than Killian. (She’s generally just a little cooler under pressure…unless it comes to emotions, romance, proposals–that’s where Killian shines.)
But she’s lonely. She’s tried the online dating thing, and that one guy, Gaston or Keith or whatever he had called himself–is more than enough to sour her on the experience.  Seriously, did she have to end up unintentionally going out with one of Emma’s bail skips?!
She has her fingers crossed that maybe Ruby will finally give her the time of day, though–oh, wait, no, she’s here with another someone. Blast. So Belle downs another glass of champagne.
Fast forward to a couple hours later–dinner is over, numerous toasts have been made to the happy couple and their love. She gets up to make her speech, teetering on her heels as she makes her way to the stage.
She faces the crowd, their faces swimming before her. Standing in front of the microphone, she says, “Thank you all for being here tonight! It’s been a fantastic night, and I’m just so happy for my brother and his new fiancee. I know–”
She cuts off, because that’s when it happens. She hurries to face away from the crowd as the drinking she’s been doing overwhelms her…and she vomits on the stage.
Everyone is looking at her, and she tamps down on the rising panic and tears. Killian looks alarmed and a little horrified, while Emma looks more amused, if a little concerned. Ruby and her date have that same concern, and Mary Margaret is already running to get things to help clean up.
Then she sees Will. The only thing in his face is compassion and kinship, and then he’s right next to her at the stage, wrapping an arm around her waist.
“Well, folks, there’s definitely just been an, uh, overflowing of joy for Emma and Killian, so let’s give them a round of applause,” Will says quickly, hauling her off the stage.
Once they’re in a private corridor, he asks her how she is, and pushes her hair out of her face. “Can I see you home, luv? I’ve been where you are, and I hate being alone when I’m ill.”
Belle just nods, a sob escaping her throat.
&&&
Present
She’s so grateful, she thinks, pulling him onto the bed on top of her. He grinds into her, and she lets out a moan. Belle smiles against his lips, remembering fondly how he’d sat next to in the cab, awkwardly and gently patting her shoulder. They’re inseparable these days, have been even since that night.
And now…they’re definitely taking it a step farther, if his arousal digging into her hip is any indication. It’s new for them, and she kind of loves it.
It’s been awhile since she realized she has feelings for him, four months of pining and angsting. Now that she knows he feels the same? Heaven, she thinks, pulling at his shirt and tossing it onto the floor.
&&&
4 months ago
Belle is sitting at her kitchen counter, the cartons of takeout tempting her with the scent of ma po tofu and almond chicken. Will’s late, later than his normal ten minutes or so past when they’re supposed to meet. It’s almost an hour later than they planned, and she doesn’t want the food to get cold.
It’s become their weekly ritual, getting together on Friday for takeout and beer or wine. They generally see each other a couple times during the week, but this is theirs. There’ve been so few interruptions in this over the last year and bit–Emma’s and Killian’s wedding festivities, and the time Will got horribly sick.
So his tardiness is…worrying. She’s texted him and gotten no response, and she’s this close to sending out a search party.
Then her door opens and Will bursts in, no knocking or by-your-leave. She opens her mouth to scold him when he throws his arms around her and mutters, “Jesus Christ, it’s been a day.”
“What, happened?” she asks, running a hand down his back. Her heart is beating far too fast and is somewhere around her stomach at the feel of his embrace
He pulls back and runs a hand over his face. God, he looks horrible. “Ana. Ana happened.”
Her heart plummets to her feet. “Ana? But I thought she–”
“She left me? Aye, a few years ago, just before I met you and Killian. It’s why I was such an ornery arsebadger when we met.”
“You were, but that’s not the point. What’s happened now?”
“I was at the pub having a pint before coming over, and she just slides onto the barstool next to me like it hasn’t been years since we’ve seen each other and like she didn’t break my heart. I don’t even know how she found me.”
“Oh my god.”
“She wants to get back together. Says she misses me.”
Belle feels something inside her break. Suddenly she realizes what she’s feeling and wants to curse herself for falling for him–from his moodiness to his kindness and compassion–at such an inconvenient time. “Oh. Well, what are you going to do?”
“Well, I just stared at her a good bit. Never been more flabbergasted. Then I started hysterically laughing.”
In spite of herself, she smiles a little. “You poor thing,” she says, brushing her hand over his arm.
He looks down at where she’s touching him and smiles back at her. “I just left, but I think I’m going to tell her to shove off.”
And then she feels something a lot like hope.
&&&
Present
They’re tangled together on her bed, sated and wrapped up in each other. He presses a kiss to her forehead, and she turns to beam up at him.
He lightly tugs on her hair. “This changes things, doesn’t it?”
She traces his cheekbone before pulling him in for a fierce kiss. “Yes. It-it’s been you, for months and months now.”
“Oh, thank god. I’ve been crazy about you for ages.”
“Really?! What about Ana?”
“I didn’t think you cared about me, and it was a shock to see her. But it wasn’t until that day I started to hope.”
“Oh.” A pause. “And then I kissed you today,” she says with a grin. She’s glad she did. Their usual Friday hangout had fallen on Valentine’s Day, and she…just hadn’t been able to resist today.
“Aye, and it was a glorious kiss.”
“I’m glad you think so, because I’m going to kiss you again.”
“Good.”
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scholarnick · 5 years
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Episode V Scores
Episode V Scores
Varys
+1 FfC writes a letter about the true heir
+5 FfC utters famous phrase, “every time a Targaryen is born…”
-4 WoW fails to persuade Jon to turn against Dany
+1 FfC writes another letter
-4 CoK taken prisoner by Grey Worm/Dany
+4 WoW mindfucks Tyrion, "I hope I deserve it,” Tyrion realizes he’s on the wrong side here
-4 WoW mindfucked by Drogon
+8 SoS dies with honor
-2 DwD defeated by supernatural foe
Dany
+8 FfC fabulous new Mad Queen look
+4 CoK takes Varys prisoner
+7 CoK orders Varys’s death
+5 FfC catchphrase, all of her titles
+5 FfC catchphrase, "Dracarys"
+8 FfC fabulous new dragon-riding doomsday chic look
-2 DoS failed seduction of Jon
+4 DoS incestual makeout on purpose
+4 CoK takes Jaime prisoner
+3 WoW mindfucks the people of King’s Landing
+4 WoW mindfucks Tyrion by burning the city
+1318 SoS for killing 659 soldiers in the siege of King’s Landing
+8 SoS Victorious in battle as commander, Siege of King’s Landing
+1 SoS survives the thick of combat, Siege of King’s Landing
+1 FfC cool move bro flying through the tower as you blow it up
+4 WoW mindfucks Cersei, making her cry
+16 SoS killis Eleanor and Nora
+8 SoS kills Jaime Lannister
+8 SoS kills Cersei Lannister
+14 CoK exacts sweet, sweet vengeance on Jaime and Cersei
+4 WoW mindfucks Arya by killing her new friends
+418 SoS for massacring 209 people after the surrender
-209 FfC not cool bro, killing 209 surrendered and innocent people
Drogon
+4 WoW mindfucks Varys
+8 SoS kills Varys
+3 WoW mindfucks the people of King’s Landing
+1318 SoS for killing 659 soldiers in the siege of King’s Landing
+4 SoS Victorious in battle, Siege of King’s Landing
+1 SoS survives the thick of combat, Siege of King’s Landing
+1 FfC cool move bro flying through the tower as you blow it up
+4 WoW mindfucks Cersei, making her cry
+16 SoS killis Eleanor and Nora
+8 SoS kills Jamie Lannister
+8 SoS kills Cersei Lannister
+4 WoW mindfucks Arya by killing her innocent friends
+418 SoS for massacring 209 people after the surrender
-209 FfC not cool bro, killing 209 surrendered and innocent people
Grey Worm
+4 CoK takes Varys prisoner
+1 FfC cool move bro, throws Missandei’s bondage in flame
+8 SoS kills Strickland
+6 SoS Victorious in battle as Lt., Siege of King’s Landing
+1 SoS survives the thick of combat, Siege of King’s Landing
+28 SoS for killing 14 people
Tyrion
-4 WoW mindfucked by Varys
+4 SoS assist on Varys’s kill
-4 WoW fails to persuade Dany to show mercy
+4 WoW persuades Jamie to attempt to rescue Cersei and ring the surrender bells
+1 FfC cool move bro risking his life to free Jaime
+6 SoS Victorious in battle as Lt., Siege of King’s Landing
-4 WoW mindfucked by Dany’s decision to burn the city despite the surrender
Jon
+4 DoS incestual makeout on purpose
+6 SoS Victorious in battle as Lt., Siege of King’s Landing
+1 SoS survives the thick of combat, Siege of King’s Landing
-4 WoW mindfucked by the totality of the massacre
+16 SoS kills 8 men
+16 DwD uses magical sword 8 times
+5 CoK saves woman from assault
Cersei
-6 CoK loses the Iron Fleet
-6 Cok loses all of the scorpions
-6 CoK loses Golden Company
-8 SoS loses a battle between armies as commander, Siege of King’s Landing
-4 WoW mindfucked by Dany/Drogon
+3 CoK narrowly escapes death, saved by Mountain
+4 FfC heartwarming reunion with Jaime
-4 WoW mindfucked by her own imminent death
-8 SoS dies dishonorably while crying and trying in vain to flee her crumbling keep
-2 DwD defeated by supernatural foe, Drogon
Euron
-6 CoK loses the Iron Fleet
-6 SoS loses a battle as Lt., Siege of King’s Landing
+1 SoS survives the thick of combat, Siege of King’s Landing
+4 WoW mindfucks Jamie, "I fucked the Queen"
-4 SoS loses duel with Jaime
+4 SoS assist on killing Jaime by mortally wounding him
+8 SoS dies in a fair fight
Jaime
-4 CoK taken prisoner
+4 CoK released from prison
+2 CoK gains resource, sword
-4 WoW mindfucked by Euron, "I fucked the Queen"
+4 SoS victorious in a duel with Euron
+8 SoS kills Euron
+4 FfC heartwarming reunion with Cersei
+8 SoS dies with honor very romantically comforting Cersei
Strickland
-4 WoW mindfucked by overwhelming battle failure
-8 SoS dies ignominiously running from battle
Davos
+6 SoS Victorious in battle as Lt., Siege of King’s Landing
+1 SoS survives the thick of combat, Siege of King’s Landing
Arya
+3 CoK narrowly escapes death by trampling
+3 CoK narrowly escape death by explosions and ash
-4 FfC particular unfashionable bloody-faced covered in ash look
+3 CoK narrowly escapes death from collapsing belltower
+1 FfC cool move bro trying to save all those people
+3 CoK narrowly escapes death from dragonfire
+2 CoK acquires resource, horse
-4 WoW mindfucked by Dany and Drogon’s killing of innocents
Hound
+4 WoW persuades Arya to give up on getting revenge
+1 FfC cool move bro, being a loving mentor to Arya
+8 SoS for killing 4 of Cersei’s Queensguard
+8 SoS dies in a fair fight
+1 FfC cool move bro pushing The Mountain through a wall
+4 SoS victorious in a duel with The Mountain
+8 SoS kills The Mountain
+2 DwD defeats a supernatural foe, The Mountain
+7 CoK exacts sweet, sweet vengeance on The Mountain
+8 CoK ends house line, Clegane
-8 CoK house line ended, Clegane
Qyburn
-6 SoS loses a battle as Lt., Siege of King’s Landing
+4 WoW persuades Cersei to flee
+3 CoK narrowly escapes death by falling debris
-8 SoS dies by treachery at the hands of The Mountain
Mountain
+5 CoK saves Cersei from dire harm, crumbling infrastructure
+8 SoS kills Qyburn
+1 FfC cool move bro Mortal Kombat style finisher on Qyburn
-4 SoS loses a duel with The Hound
+8 SoS dies in fair fight
+1 FfC cool move bro rips off armor
-8 CoK house line ended, Clegane
CATEGORY BONUSES:
CoK Dany
SoS Drogon
FfC Varys
WoW Dany & Drogon
DwD Jon Snow
DoS Jon Snow
ROOKIE CHARACTERS:
Martha
Eleanor
Nora
1 note · View note
eddiejpoplar · 6 years
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By Design: Three of Our All-Time Favorite Porsches
Last summer I was talking with a friend who possesses one of the finest design minds I’ve ever encountered. Although he has never worked on cars, he said something that I realized summed up Porsche’s operational philosophy perfectly: “The best way to do a new project is to use as much existing and off-the-shelf stuff as possible.” Cast your mind back to 1948 and Porsche’s humble beginnings as a car manufacturer, and you envision that hardy band in the Gmund sawmill doing just that. Quite literally making jewels out of junk, they rounded up off-the-shelf bits from military Kübelwagens and pieces they could get from an Austrian Volkswagen dealer to make VW hot rods.
Sophisticated hot rods to be sure, but reworked economy cars all the same. They were in essence doing what the returned G.I.s in California were doing with old Fords, saving the best bits and transforming both appearance and performance—the key difference being the Porsche engineers had designed their economy car source themselves.
There’s a mantra I’ve always liked, usually attributed to American Quakers and used widely during the Depression Era: Use it up, wear it out, make it do, or do without. The glorious Porsche 356 embodies some bad features that stayed to the end, so in effect Porsche made do with what it had available in the beginning and completely wore out the concept of using VW parts, but made it do for a long time until the 911 completely replaced the 356. Remember, the 911’s initial design was quite weak, and early models were simply bad cars, so Ferry Porsche rightly removed Hans Tomala, who had run the 911 development program. Porsche AG was too poor at the time, though, to tool up a complete alternative to what it had already spent most of its capital getting ready. So it had to make do with the 911, and as half a century of respected success has shown, it did so in spades. The last part of my favorite saying, “or do without,” applies to Porsche as well. For a full 50 years, the company did without radiators, water pumps, pipes, hoses, clamps, and other hardware miscellany in its cooling systems, and it benefited greatly from doing so.
1. These bulges at the wheel openings express the difference between the original 911 as a premium small sports car and today’s 911s as high-performance icons.
2. Marvelous sculpting gives a neat surface flow from the headlamp to the front wheel opening, then an indent to the nominal fender and door surfaces.
3. This cowl inlet is a nice punctuation mark on a bland, flowing surface. A strong visual reference, it doesn’t detract from the car’s profile.
4. This swirling gestural line separating hood, fenders, and bumper is elegant and unobtrusive. You don’t really notice it in the overall scheme at first glance, but when you do, it’s a powerful graphical statement.
5. Sorry, but without round, inclined headlamp shapes, 911 variants are not perfectly Porsche. These are classic, with minimal framing and maximum transparent area.
6. The three modest inlets below the bumper strike face are well sculpted and do not particularly call attention to themselves.
7. The necessary front-corner lamp cluster is again unobtrusive, elegantly shaped, and set off by the black rubber bumper buttresses.
8. These air inlet details are interesting but barely noticeable for a person standing near the car.
This particular car shows some examples of accessorizing, to which 911 owners are often partial. Not everyone would justify leather floor mats, least of all the Porsche factory— unless it can make a few bucks, of course.
1. From the inboard position of the footrest, you can see how the pedals are quite sharply moved to the right of the steering column and the driver’s body centerline. It seems awkward but has never bothered me driving a 911 of any vintage.
2. This small-radius section extending straight across the cockpit seems almost stupidly simple, but it provides a baseline for the handsome and matter-of-factly practical instrument panel. No flash, no fancy styling, just an ideal environment for a serious driver.
3. The tachometer is where it ought to be—where the driver can see it with minimal diversion of sight lines.
4. Airbags are smaller now, but this fairly big central container does not at all seem out of place in the Carrera 4S.
5. Porsche’s leather-wrapped shift lever adds a bit of class to the driver’s controls. However, the important thing about it is the proper placement and that it is ergonomic. And its movements are precise and kinesthetically satisfying.
6. Again, no fuss, no styling, just straightforward, simple design to purpose. The seats are good looking, comfortable, and—as from the early days with the 356—extremely well made.
1. There is a subtle reflexive upward curve in the decklid below the slightly raised surround for the grille behind the backlight. The visual effect is to increase the apparent length of the 911.
2. In this view the subtly modeled strike face side extension also adds visual length.
3. As do these hard surface change lines derived from the sill extension between front and rear wheel openings, which are blessedly free of the flat perimeter bands that have become nearly universal on all sorts of vehicles.
1. Full-width wraparound taillights are essentially a Detroit idea, but no American car ever had as simple, straightforward, and pleasing a design solution as this.
2. The added panel for the center high-mounted stop light is neat and unobjectionable.
3. Notice how the rear fender surface flows smoothly back from the maximum width established by the bulge over the rear wheels, making a broad shoulder above and a clean highlight on the flank.
4. The steel door remains as original, but the sill projects outward a bit, with a small, tight radius at its top, which is extended into the fender bulges as a character line, elongating the body length visually.
5. The hard horizontal line established with the paint break on the sill between body color and black below wraps around the rear of the car, interrupted by the exhaust cutouts.
6. The rubber bumper buttresses are effective without being overly awkward.
In its first 50 years, Porsche AG was simply a sports car company, augmenting its income with engineering consultancy, patent royalties, and the occasional design of entire vehicles for other manufacturers. Today Porsche earns its revenue by making crossovers, luxurious four-door GTs, and a relatively small number of true sports cars—the mid-engine 718 lineup’s descendants of the original 356/1. The reputation upon which this range of disparate vehicles was built is due to Porsche’s motorsports activities (which were surely never a profit center) and above all the evergreen 911.
There are literally dozens of 911 variants available right now, and there have been hundreds of models among the more than one million 911s made since 1964. For most people, the 911 is Porsche. From its very first race, at the Targa Florio, driven by Olympic ski champion Jean-Claude Killy and journalist/photographer Bernard Cahier, to the “pink pig” GT class winner at Le Mans last June, the 911 has burnished the aura that makes a suburbanite driving a Macan feel like a star.
Some enthusiasts consider the last air-cooled Porsche—the 993, sold in the U.S. from 1995 to 1998—to be the ultimate and best 911 sports car, as opposed to later, more luxurious (and heavier) grand touring Carreras. Indeed, my favorite 911 design is the 993 Carrera 4S, essentially a 993 Turbo without its whale tail and turbocharged engine. The car is of course bigger and enormously more powerful than the 2.0-liter original with its mere 130 horsepower and skinny little tires, but there is a consistency of form and easily apprehended aerodynamic quality that goes back to Erwin Komenda’s VW 60K10 race cars and continued through all 356s and 911s up until today. It’s hard for us to believe now, but the 911 was intended to disappear like the 356, to be replaced by the 928—a car many Porsche lovers refuse to acknowledge as legitimate.
The 928, though, is my choice for Porsche’s best front-engine car design. Some called it Porsche’s Corvette, and in fact that’s not so far from reality. In 1956, two young men worked together in a temporary space at the General Motors Tech Center, charged with devising the next Corvette, the C2. I was one, as stylist for the form, and Anatole Lapine was the other, responsible for its architecture. Consulting with Zora Arkus-Duntov and Ed Cole, we came up with a shorter wheelbase than the C1, with the V-8 moved rearward and the gearbox out back. Chevrolet would not use that layout for several more decades, on the C5, but Porsche introduced the conceptually identical 928 at the 1977 Geneva Motor Show and produced it until 1995. Lapine took a lot of ribbing (not least from me) for getting Porsche to make “his” Corvette, but Porsche really did it because it feared the U.S. would ban rear-engine cars like the 911. The 928 is much better looking than any ’50s GM design in the Harley Earl era could have been, and of course Porsche’s engineering then was far more refined than Chevrolet’s. To me, the 928 S4 model remains the best high-performance daily driver GT of all time, easy to enter, easy to drive, comfortable, and dead dependable. Notably, if the 928 was influenced heavily by American ideas, it was also an American, Peter Schutz—Berlin-born but Chicago-raised—who reversed the decision to cancel the 911 just three weeks after taking over as Porsche CEO, something for which all Porsche people should be eternally grateful.
In the racing realm, aside from 911-based machines, Porsche has been faithful to the mid-engine layout of the very first 356/1 for many of its competition cars, starting with the 550 Spyder first seen at the 1953 Paris auto show. It made Porsche’s giant-killer reputation in the 1954 Carrera Panamericana, when Hans Herrmann finished third overall behind two 4.5-liter Ferraris. (Another 550 was fourth.) That was reinforced by an overall win at the 1956 Targa Florio, the toughest event on the international calendar.
1. Rear visibility was really good on the 928s despite the strutlike C-pillars. It was certainly better than most comparable Italian cars—or Corvettes.
2. The corner lamp cluster is neat and clean, and the lamps are set far enough back for the elastomeric bumper surface to protect them. The whole front end is immediately identifiable as Porsche, a neat trick at the time.
3. Porsche learned with the 914 VW-Porsche that cars without identifiable headlamps on the front were dangerous, and all Porsches since have had the glass visible even if it has to pop up to be useful, as here.
4. It’s a bit astonishing that this very small inlet—you can’t call it a grille—was adequate to cool the big engine while handling the air conditioning and even the cabin ventilation. But it was.
5. This little elastic bumper strip was probably necessary at the widest part of the body, but cars without it looked better.
1. The air scoop just behind the door was prescient for mid-engine coupes, but the Olde British hood strap seems a bit much, even as far back as this car goes.
2. Long headlight fairings were not the sleek ovals used by Italian coachbuilders but had a hard, straight inner line intersecting the hood (which has no strap).
3. The car’s long nose looks extremely sleek, but I suspect its profile, nearly symmetrical, would have generated a lot of front-end lift. But no one knew much about that when these cars were conceived.
4. This undercut, running all around the car and providing a hard horizontal datum for the body, is a handsome visual accent but seems to have no relationship to the actual tubular chassis structure, unlike later Can-Am race cars.
5. Stamped wheels, as used on 356s, were probably steel, although alloy stampings might have existed.
Some 550s were used as fast road transport, notably by conductor Herbert van Karajan, who went from concert to concert very quickly back when there were no European open-road speed limits. But of all the special-series racing sports cars, the most interesting to me is the 904, a coupe that really was designed by the third-generation Ferdinand Porsche, known to the family as “Butzi.” Porsche AG would like you to think that he also did the 911 all by himself, even going so far as to cut Erwin Komenda out of period photos, rather as the Politburo did with out-of-favor politicians in the Soviet era.
The 904 got to keep its type designation because Peugeot hadn’t yet exercised its naming rights, which previously turned Porsche’s then-new project 901 into the beloved 911. The 904 was the first Porsche racer to eschew the suspension layout of the Auto Union grand prix cars created by Professor Porsche in the mid-’30s (and used, of course, for the VW, and thus all 356 Porsches). Its body was fiberglass, a first for the company, rather heavy, and highly unsuitable because it used crack-prone sprayed chopped-fiber technology—reasonable for small pleasure boats where weight doesn’t much matter but not good for a race car. But it is a handsome beast, quite clearly a Porsche from the front, and it was a very good design for its intended purpose. The fact one took first overall at the Targa Florio in 1964 is ample proof that it was well conceived.
Designer Jerry Cumbus was at GM Styling at the same time as Lapine and I. Creator of the knee-saving curved A-pillar on 1961-62 full-size cars, he has owned six Porsches, including a 904 bought used in 1962 not for racing but as a road car. He was then living in San Francisco, not the most hospitable city for exotic cars; he reports that a coupe only 38 inches high was “simply not a practical car to drive in traffic,” and “with no bumpers the car was a risk in any parking situation.” His car was initially part of a Dutch race team, driven by Ben Pons, and “had the most international race victories of any 904.” He sold it because of logistical problems but said, “If I had it to do over again, I would still buy the 904.” Who wouldn’t?
Porsche 928 S4 courtesy of LuxSport Motor Group
Porsche 904 GTS courtesy of Peter Harholdt
Special thanks to Automobile reader and Porsche fan Benjamin Shahrabani for providing his 1997 Carrera 4S for this photo shoot.
The post By Design: Three of Our All-Time Favorite Porsches appeared first on Automobile Magazine.
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jonathanbelloblog · 6 years
Text
By Design: Three of Our All-Time Favorite Porsches
Last summer I was talking with a friend who possesses one of the finest design minds I’ve ever encountered. Although he has never worked on cars, he said something that I realized summed up Porsche’s operational philosophy perfectly: “The best way to do a new project is to use as much existing and off-the-shelf stuff as possible.” Cast your mind back to 1948 and Porsche’s humble beginnings as a car manufacturer, and you envision that hardy band in the Gmund sawmill doing just that. Quite literally making jewels out of junk, they rounded up off-the-shelf bits from military Kübelwagens and pieces they could get from an Austrian Volkswagen dealer to make VW hot rods.
Sophisticated hot rods to be sure, but reworked economy cars all the same. They were in essence doing what the returned G.I.s in California were doing with old Fords, saving the best bits and transforming both appearance and performance—the key difference being the Porsche engineers had designed their economy car source themselves.
There’s a mantra I’ve always liked, usually attributed to American Quakers and used widely during the Depression Era: Use it up, wear it out, make it do, or do without. The glorious Porsche 356 embodies some bad features that stayed to the end, so in effect Porsche made do with what it had available in the beginning and completely wore out the concept of using VW parts, but made it do for a long time until the 911 completely replaced the 356. Remember, the 911’s initial design was quite weak, and early models were simply bad cars, so Ferry Porsche rightly removed Hans Tomala, who had run the 911 development program. Porsche AG was too poor at the time, though, to tool up a complete alternative to what it had already spent most of its capital getting ready. So it had to make do with the 911, and as half a century of respected success has shown, it did so in spades. The last part of my favorite saying, “or do without,” applies to Porsche as well. For a full 50 years, the company did without radiators, water pumps, pipes, hoses, clamps, and other hardware miscellany in its cooling systems, and it benefited greatly from doing so.
1. These bulges at the wheel openings express the difference between the original 911 as a premium small sports car and today’s 911s as high-performance icons.
2. Marvelous sculpting gives a neat surface flow from the headlamp to the front wheel opening, then an indent to the nominal fender and door surfaces.
3. This cowl inlet is a nice punctuation mark on a bland, flowing surface. A strong visual reference, it doesn’t detract from the car’s profile.
4. This swirling gestural line separating hood, fenders, and bumper is elegant and unobtrusive. You don’t really notice it in the overall scheme at first glance, but when you do, it’s a powerful graphical statement.
5. Sorry, but without round, inclined headlamp shapes, 911 variants are not perfectly Porsche. These are classic, with minimal framing and maximum transparent area.
6. The three modest inlets below the bumper strike face are well sculpted and do not particularly call attention to themselves.
7. The necessary front-corner lamp cluster is again unobtrusive, elegantly shaped, and set off by the black rubber bumper buttresses.
8. These air inlet details are interesting but barely noticeable for a person standing near the car.
This particular car shows some examples of accessorizing, to which 911 owners are often partial. Not everyone would justify leather floor mats, least of all the Porsche factory— unless it can make a few bucks, of course.
1. From the inboard position of the footrest, you can see how the pedals are quite sharply moved to the right of the steering column and the driver’s body centerline. It seems awkward but has never bothered me driving a 911 of any vintage.
2. This small-radius section extending straight across the cockpit seems almost stupidly simple, but it provides a baseline for the handsome and matter-of-factly practical instrument panel. No flash, no fancy styling, just an ideal environment for a serious driver.
3. The tachometer is where it ought to be—where the driver can see it with minimal diversion of sight lines.
4. Airbags are smaller now, but this fairly big central container does not at all seem out of place in the Carrera 4S.
5. Porsche’s leather-wrapped shift lever adds a bit of class to the driver’s controls. However, the important thing about it is the proper placement and that it is ergonomic. And its movements are precise and kinesthetically satisfying.
6. Again, no fuss, no styling, just straightforward, simple design to purpose. The seats are good looking, comfortable, and—as from the early days with the 356—extremely well made.
1. There is a subtle reflexive upward curve in the decklid below the slightly raised surround for the grille behind the backlight. The visual effect is to increase the apparent length of the 911.
2. In this view the subtly modeled strike face side extension also adds visual length.
3. As do these hard surface change lines derived from the sill extension between front and rear wheel openings, which are blessedly free of the flat perimeter bands that have become nearly universal on all sorts of vehicles.
1. Full-width wraparound taillights are essentially a Detroit idea, but no American car ever had as simple, straightforward, and pleasing a design solution as this.
2. The added panel for the center high-mounted stop light is neat and unobjectionable.
3. Notice how the rear fender surface flows smoothly back from the maximum width established by the bulge over the rear wheels, making a broad shoulder above and a clean highlight on the flank.
4. The steel door remains as original, but the sill projects outward a bit, with a small, tight radius at its top, which is extended into the fender bulges as a character line, elongating the body length visually.
5. The hard horizontal line established with the paint break on the sill between body color and black below wraps around the rear of the car, interrupted by the exhaust cutouts.
6. The rubber bumper buttresses are effective without being overly awkward.
In its first 50 years, Porsche AG was simply a sports car company, augmenting its income with engineering consultancy, patent royalties, and the occasional design of entire vehicles for other manufacturers. Today Porsche earns its revenue by making crossovers, luxurious four-door GTs, and a relatively small number of true sports cars—the mid-engine 718 lineup’s descendants of the original 356/1. The reputation upon which this range of disparate vehicles was built is due to Porsche’s motorsports activities (which were surely never a profit center) and above all the evergreen 911.
There are literally dozens of 911 variants available right now, and there have been hundreds of models among the more than one million 911s made since 1964. For most people, the 911 is Porsche. From its very first race, at the Targa Florio, driven by Olympic ski champion Jean-Claude Killy and journalist/photographer Bernard Cahier, to the “pink pig” GT class winner at Le Mans last June, the 911 has burnished the aura that makes a suburbanite driving a Macan feel like a star.
Some enthusiasts consider the last air-cooled Porsche—the 993, sold in the U.S. from 1995 to 1998—to be the ultimate and best 911 sports car, as opposed to later, more luxurious (and heavier) grand touring Carreras. Indeed, my favorite 911 design is the 993 Carrera 4S, essentially a 993 Turbo without its whale tail and turbocharged engine. The car is of course bigger and enormously more powerful than the 2.0-liter original with its mere 130 horsepower and skinny little tires, but there is a consistency of form and easily apprehended aerodynamic quality that goes back to Erwin Komenda’s VW 60K10 race cars and continued through all 356s and 911s up until today. It’s hard for us to believe now, but the 911 was intended to disappear like the 356, to be replaced by the 928—a car many Porsche lovers refuse to acknowledge as legitimate.
The 928, though, is my choice for Porsche’s best front-engine car design. Some called it Porsche’s Corvette, and in fact that’s not so far from reality. In 1956, two young men worked together in a temporary space at the General Motors Tech Center, charged with devising the next Corvette, the C2. I was one, as stylist for the form, and Anatole Lapine was the other, responsible for its architecture. Consulting with Zora Arkus-Duntov and Ed Cole, we came up with a shorter wheelbase than the C1, with the V-8 moved rearward and the gearbox out back. Chevrolet would not use that layout for several more decades, on the C5, but Porsche introduced the conceptually identical 928 at the 1977 Geneva Motor Show and produced it until 1995. Lapine took a lot of ribbing (not least from me) for getting Porsche to make “his” Corvette, but Porsche really did it because it feared the U.S. would ban rear-engine cars like the 911. The 928 is much better looking than any ’50s GM design in the Harley Earl era could have been, and of course Porsche’s engineering then was far more refined than Chevrolet’s. To me, the 928 S4 model remains the best high-performance daily driver GT of all time, easy to enter, easy to drive, comfortable, and dead dependable. Notably, if the 928 was influenced heavily by American ideas, it was also an American, Peter Schutz—Berlin-born but Chicago-raised—who reversed the decision to cancel the 911 just three weeks after taking over as Porsche CEO, something for which all Porsche people should be eternally grateful.
In the racing realm, aside from 911-based machines, Porsche has been faithful to the mid-engine layout of the very first 356/1 for many of its competition cars, starting with the 550 Spyder first seen at the 1953 Paris auto show. It made Porsche’s giant-killer reputation in the 1954 Carrera Panamericana, when Hans Herrmann finished third overall behind two 4.5-liter Ferraris. (Another 550 was fourth.) That was reinforced by an overall win at the 1956 Targa Florio, the toughest event on the international calendar.
1. Rear visibility was really good on the 928s despite the strutlike C-pillars. It was certainly better than most comparable Italian cars—or Corvettes.
2. The corner lamp cluster is neat and clean, and the lamps are set far enough back for the elastomeric bumper surface to protect them. The whole front end is immediately identifiable as Porsche, a neat trick at the time.
3. Porsche learned with the 914 VW-Porsche that cars without identifiable headlamps on the front were dangerous, and all Porsches since have had the glass visible even if it has to pop up to be useful, as here.
4. It’s a bit astonishing that this very small inlet—you can’t call it a grille—was adequate to cool the big engine while handling the air conditioning and even the cabin ventilation. But it was.
5. This little elastic bumper strip was probably necessary at the widest part of the body, but cars without it looked better.
1. The air scoop just behind the door was prescient for mid-engine coupes, but the Olde British hood strap seems a bit much, even as far back as this car goes.
2. Long headlight fairings were not the sleek ovals used by Italian coachbuilders but had a hard, straight inner line intersecting the hood (which has no strap).
3. The car’s long nose looks extremely sleek, but I suspect its profile, nearly symmetrical, would have generated a lot of front-end lift. But no one knew much about that when these cars were conceived.
4. This undercut, running all around the car and providing a hard horizontal datum for the body, is a handsome visual accent but seems to have no relationship to the actual tubular chassis structure, unlike later Can-Am race cars.
5. Stamped wheels, as used on 356s, were probably steel, although alloy stampings might have existed.
Some 550s were used as fast road transport, notably by conductor Herbert van Karajan, who went from concert to concert very quickly back when there were no European open-road speed limits. But of all the special-series racing sports cars, the most interesting to me is the 904, a coupe that really was designed by the third-generation Ferdinand Porsche, known to the family as “Butzi.” Porsche AG would like you to think that he also did the 911 all by himself, even going so far as to cut Erwin Komenda out of period photos, rather as the Politburo did with out-of-favor politicians in the Soviet era.
The 904 got to keep its type designation because Peugeot hadn’t yet exercised its naming rights, which previously turned Porsche’s then-new project 901 into the beloved 911. The 904 was the first Porsche racer to eschew the suspension layout of the Auto Union grand prix cars created by Professor Porsche in the mid-’30s (and used, of course, for the VW, and thus all 356 Porsches). Its body was fiberglass, a first for the company, rather heavy, and highly unsuitable because it used crack-prone sprayed chopped-fiber technology—reasonable for small pleasure boats where weight doesn’t much matter but not good for a race car. But it is a handsome beast, quite clearly a Porsche from the front, and it was a very good design for its intended purpose. The fact one took first overall at the Targa Florio in 1964 is ample proof that it was well conceived.
Designer Jerry Cumbus was at GM Styling at the same time as Lapine and I. Creator of the knee-saving curved A-pillar on 1961-62 full-size cars, he has owned six Porsches, including a 904 bought used in 1962 not for racing but as a road car. He was then living in San Francisco, not the most hospitable city for exotic cars; he reports that a coupe only 38 inches high was “simply not a practical car to drive in traffic,” and “with no bumpers the car was a risk in any parking situation.” His car was initially part of a Dutch race team, driven by Ben Pons, and “had the most international race victories of any 904.” He sold it because of logistical problems but said, “If I had it to do over again, I would still buy the 904.” Who wouldn’t?
Porsche 928 S4 courtesy of LuxSport Motor Group
Porsche 904 GTS courtesy of Peter Harholdt
Special thanks to Automobile reader and Porsche fan Benjamin Shahrabani for providing his 1997 Carrera 4S for this photo shoot.
The post By Design: Three of Our All-Time Favorite Porsches appeared first on Automobile Magazine.
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jesusvasser · 6 years
Text
By Design: Three of Our All-Time Favorite Porsches
Last summer I was talking with a friend who possesses one of the finest design minds I’ve ever encountered. Although he has never worked on cars, he said something that I realized summed up Porsche’s operational philosophy perfectly: “The best way to do a new project is to use as much existing and off-the-shelf stuff as possible.” Cast your mind back to 1948 and Porsche’s humble beginnings as a car manufacturer, and you envision that hardy band in the Gmund sawmill doing just that. Quite literally making jewels out of junk, they rounded up off-the-shelf bits from military Kübelwagens and pieces they could get from an Austrian Volkswagen dealer to make VW hot rods.
Sophisticated hot rods to be sure, but reworked economy cars all the same. They were in essence doing what the returned G.I.s in California were doing with old Fords, saving the best bits and transforming both appearance and performance—the key difference being the Porsche engineers had designed their economy car source themselves.
There’s a mantra I’ve always liked, usually attributed to American Quakers and used widely during the Depression Era: Use it up, wear it out, make it do, or do without. The glorious Porsche 356 embodies some bad features that stayed to the end, so in effect Porsche made do with what it had available in the beginning and completely wore out the concept of using VW parts, but made it do for a long time until the 911 completely replaced the 356. Remember, the 911’s initial design was quite weak, and early models were simply bad cars, so Ferry Porsche rightly removed Hans Tomala, who had run the 911 development program. Porsche AG was too poor at the time, though, to tool up a complete alternative to what it had already spent most of its capital getting ready. So it had to make do with the 911, and as half a century of respected success has shown, it did so in spades. The last part of my favorite saying, “or do without,” applies to Porsche as well. For a full 50 years, the company did without radiators, water pumps, pipes, hoses, clamps, and other hardware miscellany in its cooling systems, and it benefited greatly from doing so.
1. These bulges at the wheel openings express the difference between the original 911 as a premium small sports car and today’s 911s as high-performance icons.
2. Marvelous sculpting gives a neat surface flow from the headlamp to the front wheel opening, then an indent to the nominal fender and door surfaces.
3. This cowl inlet is a nice punctuation mark on a bland, flowing surface. A strong visual reference, it doesn’t detract from the car’s profile.
4. This swirling gestural line separating hood, fenders, and bumper is elegant and unobtrusive. You don’t really notice it in the overall scheme at first glance, but when you do, it’s a powerful graphical statement.
5. Sorry, but without round, inclined headlamp shapes, 911 variants are not perfectly Porsche. These are classic, with minimal framing and maximum transparent area.
6. The three modest inlets below the bumper strike face are well sculpted and do not particularly call attention to themselves.
7. The necessary front-corner lamp cluster is again unobtrusive, elegantly shaped, and set off by the black rubber bumper buttresses.
8. These air inlet details are interesting but barely noticeable for a person standing near the car.
This particular car shows some examples of accessorizing, to which 911 owners are often partial. Not everyone would justify leather floor mats, least of all the Porsche factory— unless it can make a few bucks, of course.
1. From the inboard position of the footrest, you can see how the pedals are quite sharply moved to the right of the steering column and the driver’s body centerline. It seems awkward but has never bothered me driving a 911 of any vintage.
2. This small-radius section extending straight across the cockpit seems almost stupidly simple, but it provides a baseline for the handsome and matter-of-factly practical instrument panel. No flash, no fancy styling, just an ideal environment for a serious driver.
3. The tachometer is where it ought to be—where the driver can see it with minimal diversion of sight lines.
4. Airbags are smaller now, but this fairly big central container does not at all seem out of place in the Carrera 4S.
5. Porsche’s leather-wrapped shift lever adds a bit of class to the driver’s controls. However, the important thing about it is the proper placement and that it is ergonomic. And its movements are precise and kinesthetically satisfying.
6. Again, no fuss, no styling, just straightforward, simple design to purpose. The seats are good looking, comfortable, and—as from the early days with the 356—extremely well made.
1. There is a subtle reflexive upward curve in the decklid below the slightly raised surround for the grille behind the backlight. The visual effect is to increase the apparent length of the 911.
2. In this view the subtly modeled strike face side extension also adds visual length.
3. As do these hard surface change lines derived from the sill extension between front and rear wheel openings, which are blessedly free of the flat perimeter bands that have become nearly universal on all sorts of vehicles.
1. Full-width wraparound taillights are essentially a Detroit idea, but no American car ever had as simple, straightforward, and pleasing a design solution as this.
2. The added panel for the center high-mounted stop light is neat and unobjectionable.
3. Notice how the rear fender surface flows smoothly back from the maximum width established by the bulge over the rear wheels, making a broad shoulder above and a clean highlight on the flank.
4. The steel door remains as original, but the sill projects outward a bit, with a small, tight radius at its top, which is extended into the fender bulges as a character line, elongating the body length visually.
5. The hard horizontal line established with the paint break on the sill between body color and black below wraps around the rear of the car, interrupted by the exhaust cutouts.
6. The rubber bumper buttresses are effective without being overly awkward.
In its first 50 years, Porsche AG was simply a sports car company, augmenting its income with engineering consultancy, patent royalties, and the occasional design of entire vehicles for other manufacturers. Today Porsche earns its revenue by making crossovers, luxurious four-door GTs, and a relatively small number of true sports cars—the mid-engine 718 lineup’s descendants of the original 356/1. The reputation upon which this range of disparate vehicles was built is due to Porsche’s motorsports activities (which were surely never a profit center) and above all the evergreen 911.
There are literally dozens of 911 variants available right now, and there have been hundreds of models among the more than one million 911s made since 1964. For most people, the 911 is Porsche. From its very first race, at the Targa Florio, driven by Olympic ski champion Jean-Claude Killy and journalist/photographer Bernard Cahier, to the “pink pig” GT class winner at Le Mans last June, the 911 has burnished the aura that makes a suburbanite driving a Macan feel like a star.
Some enthusiasts consider the last air-cooled Porsche—the 993, sold in the U.S. from 1995 to 1998—to be the ultimate and best 911 sports car, as opposed to later, more luxurious (and heavier) grand touring Carreras. Indeed, my favorite 911 design is the 993 Carrera 4S, essentially a 993 Turbo without its whale tail and turbocharged engine. The car is of course bigger and enormously more powerful than the 2.0-liter original with its mere 130 horsepower and skinny little tires, but there is a consistency of form and easily apprehended aerodynamic quality that goes back to Erwin Komenda’s VW 60K10 race cars and continued through all 356s and 911s up until today. It’s hard for us to believe now, but the 911 was intended to disappear like the 356, to be replaced by the 928—a car many Porsche lovers refuse to acknowledge as legitimate.
The 928, though, is my choice for Porsche’s best front-engine car design. Some called it Porsche’s Corvette, and in fact that’s not so far from reality. In 1956, two young men worked together in a temporary space at the General Motors Tech Center, charged with devising the next Corvette, the C2. I was one, as stylist for the form, and Anatole Lapine was the other, responsible for its architecture. Consulting with Zora Arkus-Duntov and Ed Cole, we came up with a shorter wheelbase than the C1, with the V-8 moved rearward and the gearbox out back. Chevrolet would not use that layout for several more decades, on the C5, but Porsche introduced the conceptually identical 928 at the 1977 Geneva Motor Show and produced it until 1995. Lapine took a lot of ribbing (not least from me) for getting Porsche to make “his” Corvette, but Porsche really did it because it feared the U.S. would ban rear-engine cars like the 911. The 928 is much better looking than any ’50s GM design in the Harley Earl era could have been, and of course Porsche’s engineering then was far more refined than Chevrolet’s. To me, the 928 S4 model remains the best high-performance daily driver GT of all time, easy to enter, easy to drive, comfortable, and dead dependable. Notably, if the 928 was influenced heavily by American ideas, it was also an American, Peter Schutz—Berlin-born but Chicago-raised—who reversed the decision to cancel the 911 just three weeks after taking over as Porsche CEO, something for which all Porsche people should be eternally grateful.
In the racing realm, aside from 911-based machines, Porsche has been faithful to the mid-engine layout of the very first 356/1 for many of its competition cars, starting with the 550 Spyder first seen at the 1953 Paris auto show. It made Porsche’s giant-killer reputation in the 1954 Carrera Panamericana, when Hans Herrmann finished third overall behind two 4.5-liter Ferraris. (Another 550 was fourth.) That was reinforced by an overall win at the 1956 Targa Florio, the toughest event on the international calendar.
1. Rear visibility was really good on the 928s despite the strutlike C-pillars. It was certainly better than most comparable Italian cars—or Corvettes.
2. The corner lamp cluster is neat and clean, and the lamps are set far enough back for the elastomeric bumper surface to protect them. The whole front end is immediately identifiable as Porsche, a neat trick at the time.
3. Porsche learned with the 914 VW-Porsche that cars without identifiable headlamps on the front were dangerous, and all Porsches since have had the glass visible even if it has to pop up to be useful, as here.
4. It’s a bit astonishing that this very small inlet—you can’t call it a grille—was adequate to cool the big engine while handling the air conditioning and even the cabin ventilation. But it was.
5. This little elastic bumper strip was probably necessary at the widest part of the body, but cars without it looked better.
1. The air scoop just behind the door was prescient for mid-engine coupes, but the Olde British hood strap seems a bit much, even as far back as this car goes.
2. Long headlight fairings were not the sleek ovals used by Italian coachbuilders but had a hard, straight inner line intersecting the hood (which has no strap).
3. The car’s long nose looks extremely sleek, but I suspect its profile, nearly symmetrical, would have generated a lot of front-end lift. But no one knew much about that when these cars were conceived.
4. This undercut, running all around the car and providing a hard horizontal datum for the body, is a handsome visual accent but seems to have no relationship to the actual tubular chassis structure, unlike later Can-Am race cars.
5. Stamped wheels, as used on 356s, were probably steel, although alloy stampings might have existed.
Some 550s were used as fast road transport, notably by conductor Herbert van Karajan, who went from concert to concert very quickly back when there were no European open-road speed limits. But of all the special-series racing sports cars, the most interesting to me is the 904, a coupe that really was designed by the third-generation Ferdinand Porsche, known to the family as “Butzi.” Porsche AG would like you to think that he also did the 911 all by himself, even going so far as to cut Erwin Komenda out of period photos, rather as the Politburo did with out-of-favor politicians in the Soviet era.
The 904 got to keep its type designation because Peugeot hadn’t yet exercised its naming rights, which previously turned Porsche’s then-new project 901 into the beloved 911. The 904 was the first Porsche racer to eschew the suspension layout of the Auto Union grand prix cars created by Professor Porsche in the mid-’30s (and used, of course, for the VW, and thus all 356 Porsches). Its body was fiberglass, a first for the company, rather heavy, and highly unsuitable because it used crack-prone sprayed chopped-fiber technology—reasonable for small pleasure boats where weight doesn’t much matter but not good for a race car. But it is a handsome beast, quite clearly a Porsche from the front, and it was a very good design for its intended purpose. The fact one took first overall at the Targa Florio in 1964 is ample proof that it was well conceived.
Designer Jerry Cumbus was at GM Styling at the same time as Lapine and I. Creator of the knee-saving curved A-pillar on 1961-62 full-size cars, he has owned six Porsches, including a 904 bought used in 1962 not for racing but as a road car. He was then living in San Francisco, not the most hospitable city for exotic cars; he reports that a coupe only 38 inches high was “simply not a practical car to drive in traffic,” and “with no bumpers the car was a risk in any parking situation.” His car was initially part of a Dutch race team, driven by Ben Pons, and “had the most international race victories of any 904.” He sold it because of logistical problems but said, “If I had it to do over again, I would still buy the 904.” Who wouldn’t?
Porsche 928 S4 courtesy of LuxSport Motor Group
Porsche 904 GTS courtesy of Peter Harholdt
Special thanks to Automobile reader and Porsche fan Benjamin Shahrabani for providing his 1997 Carrera 4S for this photo shoot.
The post By Design: Three of Our All-Time Favorite Porsches appeared first on Automobile Magazine.
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kays-artstuff · 3 years
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@justafanpersonz
Made an MLM flag for them! Happ pride month!!! :D
Killis is v cool friend/family
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365footballorg-blog · 6 years
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Big game form boosts Hibs in race for second place, says Paul Hanlon
Paul Hanlon hopes Hibernian’s record against the Premiership top-six sides this season will give them “the edge” in pursuit of the runners-up spot.
Last season’s Championship winners are three points behind second-placed Rangers and Aberdeen after 33 games.
Celtic visit Hibs on Saturday needing one more win to secure the title.
“The top six is all about having that mental strength, with you having to play all the best sides in the league,” said defender Hanlon, 28.
“Every game will be very tough. But we’ve dealt with the big games this season pretty well so far and I’d like to think that would give us the edge.
“We’ll have to do it again now, but they are all coming back-to-back now and we need to be ready for each one. That will be the biggest test.”
Hibernian v Celtic[1]
Lennon out to delay Celtic title party[2]
Lennon cool on Miller ‘speculation’[3]
Hanlon echoed his manager Neil Lennon’s sentiments about wanting to delay Celtic’s title win.
“We want to take something from this game in order to help our own situation, so we’re not worrying too much about Celtic winning the league,” explained Hanlon.
“It’s about us and our push for second place.”
Hibs beat Rangers and Hearts twice and Aberdeen and Killie once prior to the Premiership split. After Saturday, Hibs host Kilmarnock, visit Aberdeen and Hearts and finish at home to Rangers.
Both Aberdeen and Rangers go into their respective weekend fixtures against Kilmarnock and Hearts following Scottish Cup semi-final defeats.
“I watched the two games,” added Hanlon. “Both Aberdeen and Rangers might have had their confidence dented slightly but it’s their job to re-focus and go again in the league.
“Here, though, the whole place is buzzing. There is such a feel-good factor about the place.
“It’s up to us as players to keep that going and picking up three points this weekend would be a massive boost ahead of the run-in.
“It would definitely set us up nicely going into the remaining games.”
References
^ Hibernian v Celtic (www.bbc.co.uk)
^ Lennon out to delay Celtic title party (www.bbc.co.uk)
^ Lennon cool on Miller ‘speculation’ (www.bbc.co.uk)
BBC Sport – Scottish
Big game form boosts Hibs in race for second place, says Paul Hanlon was originally published on 365 Football
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eddiejpoplar · 6 years
Text
By Design: Three of Our All-Time Favorite Porsches
Last summer I was talking with a friend who possesses one of the finest design minds I’ve ever encountered. Although he has never worked on cars, he said something that I realized summed up Porsche’s operational philosophy perfectly: “The best way to do a new project is to use as much existing and off-the-shelf stuff as possible.” Cast your mind back to 1948 and Porsche’s humble beginnings as a car manufacturer, and you envision that hardy band in the Gmund sawmill doing just that. Quite literally making jewels out of junk, they rounded up off-the-shelf bits from military Kübelwagens and pieces they could get from an Austrian Volkswagen dealer to make VW hot rods.
Sophisticated hot rods to be sure, but reworked economy cars all the same. They were in essence doing what the returned G.I.s in California were doing with old Fords, saving the best bits and transforming both appearance and performance—the key difference being the Porsche engineers had designed their economy car source themselves.
There’s a mantra I’ve always liked, usually attributed to American Quakers and used widely during the Depression Era: Use it up, wear it out, make it do, or do without. The glorious Porsche 356 embodies some bad features that stayed to the end, so in effect Porsche made do with what it had available in the beginning and completely wore out the concept of using VW parts, but made it do for a long time until the 911 completely replaced the 356. Remember, the 911’s initial design was quite weak, and early models were simply bad cars, so Ferry Porsche rightly removed Hans Tomala, who had run the 911 development program. Porsche AG was too poor at the time, though, to tool up a complete alternative to what it had already spent most of its capital getting ready. So it had to make do with the 911, and as half a century of respected success has shown, it did so in spades. The last part of my favorite saying, “or do without,” applies to Porsche as well. For a full 50 years, the company did without radiators, water pumps, pipes, hoses, clamps, and other hardware miscellany in its cooling systems, and it benefited greatly from doing so.
1. These bulges at the wheel openings express the difference between the original 911 as a premium small sports car and today’s 911s as high-performance icons.
2. Marvelous sculpting gives a neat surface flow from the headlamp to the front wheel opening, then an indent to the nominal fender and door surfaces.
3. This cowl inlet is a nice punctuation mark on a bland, flowing surface. A strong visual reference, it doesn’t detract from the car’s profile.
4. This swirling gestural line separating hood, fenders, and bumper is elegant and unobtrusive. You don’t really notice it in the overall scheme at first glance, but when you do, it’s a powerful graphical statement.
5. Sorry, but without round, inclined headlamp shapes, 911 variants are not perfectly Porsche. These are classic, with minimal framing and maximum transparent area.
6. The three modest inlets below the bumper strike face are well sculpted and do not particularly call attention to themselves.
7. The necessary front-corner lamp cluster is again unobtrusive, elegantly shaped, and set off by the black rubber bumper buttresses.
8. These air inlet details are interesting but barely noticeable for a person standing near the car.
This particular car shows some examples of accessorizing, to which 911 owners are often partial. Not everyone would justify leather floor mats, least of all the Porsche factory— unless it can make a few bucks, of course.
1. From the inboard position of the footrest, you can see how the pedals are quite sharply moved to the right of the steering column and the driver’s body centerline. It seems awkward but has never bothered me driving a 911 of any vintage.
2. This small-radius section extending straight across the cockpit seems almost stupidly simple, but it provides a baseline for the handsome and matter-of-factly practical instrument panel. No flash, no fancy styling, just an ideal environment for a serious driver.
3. The tachometer is where it ought to be—where the driver can see it with minimal diversion of sight lines.
4. Airbags are smaller now, but this fairly big central container does not at all seem out of place in the Carrera 4S.
5. Porsche’s leather-wrapped shift lever adds a bit of class to the driver’s controls. However, the important thing about it is the proper placement and that it is ergonomic. And its movements are precise and kinesthetically satisfying.
6. Again, no fuss, no styling, just straightforward, simple design to purpose. The seats are good looking, comfortable, and—as from the early days with the 356—extremely well made.
1. There is a subtle reflexive upward curve in the decklid below the slightly raised surround for the grille behind the backlight. The visual effect is to increase the apparent length of the 911.
2. In this view the subtly modeled strike face side extension also adds visual length.
3. As do these hard surface change lines derived from the sill extension between front and rear wheel openings, which are blessedly free of the flat perimeter bands that have become nearly universal on all sorts of vehicles.
1. Full-width wraparound taillights are essentially a Detroit idea, but no American car ever had as simple, straightforward, and pleasing a design solution as this.
2. The added panel for the center high-mounted stop light is neat and unobjectionable.
3. Notice how the rear fender surface flows smoothly back from the maximum width established by the bulge over the rear wheels, making a broad shoulder above and a clean highlight on the flank.
4. The steel door remains as original, but the sill projects outward a bit, with a small, tight radius at its top, which is extended into the fender bulges as a character line, elongating the body length visually.
5. The hard horizontal line established with the paint break on the sill between body color and black below wraps around the rear of the car, interrupted by the exhaust cutouts.
6. The rubber bumper buttresses are effective without being overly awkward.
In its first 50 years, Porsche AG was simply a sports car company, augmenting its income with engineering consultancy, patent royalties, and the occasional design of entire vehicles for other manufacturers. Today Porsche earns its revenue by making crossovers, luxurious four-door GTs, and a relatively small number of true sports cars—the mid-engine 718 lineup’s descendants of the original 356/1. The reputation upon which this range of disparate vehicles was built is due to Porsche’s motorsports activities (which were surely never a profit center) and above all the evergreen 911.
There are literally dozens of 911 variants available right now, and there have been hundreds of models among the more than one million 911s made since 1964. For most people, the 911 is Porsche. From its very first race, at the Targa Florio, driven by Olympic ski champion Jean-Claude Killy and journalist/photographer Bernard Cahier, to the “pink pig” GT class winner at Le Mans last June, the 911 has burnished the aura that makes a suburbanite driving a Macan feel like a star.
Some enthusiasts consider the last air-cooled Porsche—the 993, sold in the U.S. from 1995 to 1998—to be the ultimate and best 911 sports car, as opposed to later, more luxurious (and heavier) grand touring Carreras. Indeed, my favorite 911 design is the 993 Carrera 4S, essentially a 993 Turbo without its whale tail and turbocharged engine. The car is of course bigger and enormously more powerful than the 2.0-liter original with its mere 130 horsepower and skinny little tires, but there is a consistency of form and easily apprehended aerodynamic quality that goes back to Erwin Komenda’s VW 60K10 race cars and continued through all 356s and 911s up until today. It’s hard for us to believe now, but the 911 was intended to disappear like the 356, to be replaced by the 928—a car many Porsche lovers refuse to acknowledge as legitimate.
The 928, though, is my choice for Porsche’s best front-engine car design. Some called it Porsche’s Corvette, and in fact that’s not so far from reality. In 1956, two young men worked together in a temporary space at the General Motors Tech Center, charged with devising the next Corvette, the C2. I was one, as stylist for the form, and Anatole Lapine was the other, responsible for its architecture. Consulting with Zora Arkus-Duntov and Ed Cole, we came up with a shorter wheelbase than the C1, with the V-8 moved rearward and the gearbox out back. Chevrolet would not use that layout for several more decades, on the C5, but Porsche introduced the conceptually identical 928 at the 1977 Geneva Motor Show and produced it until 1995. Lapine took a lot of ribbing (not least from me) for getting Porsche to make “his” Corvette, but Porsche really did it because it feared the U.S. would ban rear-engine cars like the 911. The 928 is much better looking than any ’50s GM design in the Harley Earl era could have been, and of course Porsche’s engineering then was far more refined than Chevrolet’s. To me, the 928 S4 model remains the best high-performance daily driver GT of all time, easy to enter, easy to drive, comfortable, and dead dependable. Notably, if the 928 was influenced heavily by American ideas, it was also an American, Peter Schutz—Berlin-born but Chicago-raised—who reversed the decision to cancel the 911 just three weeks after taking over as Porsche CEO, something for which all Porsche people should be eternally grateful.
In the racing realm, aside from 911-based machines, Porsche has been faithful to the mid-engine layout of the very first 356/1 for many of its competition cars, starting with the 550 Spyder first seen at the 1953 Paris auto show. It made Porsche’s giant-killer reputation in the 1954 Carrera Panamericana, when Hans Herrmann finished third overall behind two 4.5-liter Ferraris. (Another 550 was fourth.) That was reinforced by an overall win at the 1956 Targa Florio, the toughest event on the international calendar.
1. Rear visibility was really good on the 928s despite the strutlike C-pillars. It was certainly better than most comparable Italian cars—or Corvettes.
2. The corner lamp cluster is neat and clean, and the lamps are set far enough back for the elastomeric bumper surface to protect them. The whole front end is immediately identifiable as Porsche, a neat trick at the time.
3. Porsche learned with the 914 VW-Porsche that cars without identifiable headlamps on the front were dangerous, and all Porsches since have had the glass visible even if it has to pop up to be useful, as here.
4. It’s a bit astonishing that this very small inlet—you can’t call it a grille—was adequate to cool the big engine while handling the air conditioning and even the cabin ventilation. But it was.
5. This little elastic bumper strip was probably necessary at the widest part of the body, but cars without it looked better.
1. The air scoop just behind the door was prescient for mid-engine coupes, but the Olde British hood strap seems a bit much, even as far back as this car goes.
2. Long headlight fairings were not the sleek ovals used by Italian coachbuilders but had a hard, straight inner line intersecting the hood (which has no strap).
3. The car’s long nose looks extremely sleek, but I suspect its profile, nearly symmetrical, would have generated a lot of front-end lift. But no one knew much about that when these cars were conceived.
4. This undercut, running all around the car and providing a hard horizontal datum for the body, is a handsome visual accent but seems to have no relationship to the actual tubular chassis structure, unlike later Can-Am race cars.
5. Stamped wheels, as used on 356s, were probably steel, although alloy stampings might have existed.
Some 550s were used as fast road transport, notably by conductor Herbert van Karajan, who went from concert to concert very quickly back when there were no European open-road speed limits. But of all the special-series racing sports cars, the most interesting to me is the 904, a coupe that really was designed by the third-generation Ferdinand Porsche, known to the family as “Butzi.” Porsche AG would like you to think that he also did the 911 all by himself, even going so far as to cut Erwin Komenda out of period photos, rather as the Politburo did with out-of-favor politicians in the Soviet era.
The 904 got to keep its type designation because Peugeot hadn’t yet exercised its naming rights, which previously turned Porsche’s then-new project 901 into the beloved 911. The 904 was the first Porsche racer to eschew the suspension layout of the Auto Union grand prix cars created by Professor Porsche in the mid-’30s (and used, of course, for the VW, and thus all 356 Porsches). Its body was fiberglass, a first for the company, rather heavy, and highly unsuitable because it used crack-prone sprayed chopped-fiber technology—reasonable for small pleasure boats where weight doesn’t much matter but not good for a race car. But it is a handsome beast, quite clearly a Porsche from the front, and it was a very good design for its intended purpose. The fact one took first overall at the Targa Florio in 1964 is ample proof that it was well conceived.
Designer Jerry Cumbus was at GM Styling at the same time as Lapine and I. Creator of the knee-saving curved A-pillar on 1961-62 full-size cars, he has owned six Porsches, including a 904 bought used in 1962 not for racing but as a road car. He was then living in San Francisco, not the most hospitable city for exotic cars; he reports that a coupe only 38 inches high was “simply not a practical car to drive in traffic,” and “with no bumpers the car was a risk in any parking situation.” His car was initially part of a Dutch race team, driven by Ben Pons, and “had the most international race victories of any 904.” He sold it because of logistical problems but said, “If I had it to do over again, I would still buy the 904.” Who wouldn’t?
Porsche 928 S4 courtesy of LuxSport Motor Group
Porsche 904 GTS courtesy of Peter Harholdt
Special thanks to Automobile reader and Porsche fan Benjamin Shahrabani for providing his 1997 Carrera 4S for this photo shoot.
The post By Design: Three of Our All-Time Favorite Porsches appeared first on Automobile Magazine.
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