Sunday 28 June 2020

Car of the Week - Week 91: Pagani Zonda R

"...and I'm the best guy you got for this?", I snark, trying my best to not throw my resume across the table but instead place it down. The folder still made a rather loud smack as it sat, words facing me, on the table.

"As you already aware from your earlier inquiry, the regulars at COTW are busy", she almost lifelessly retorts, but not before pushing up her glasses for the umpteenth time, not even looking up from her own folders when mine hit the desk. "We've selected you as you write the most drawn out reviews, which allows us to place as many ads in as possible".

"Fine", I bitterly retrieve my folder with a bit if a stretch across the table. I got up and turned to leave the room, and Esther the editor, my chaperone for my short trip to Germany, followed suit. Descending the stairs to the pit garage and making it round the door for the first time, a loud racing car greeted my sights in the dead quiet garage. There might've been a Mercedes GT3 car buried somewhere under the cyan and pink paintjob, sponsorship decals, and under the skirt of Hatsune Miku, but I honestly can't tell.


"So... what have we here?"
"A car for you to review"
"Okay, but... what is it?"
"It's a racing car"

I'm not sure if I detected a hint of frustration in her last statement, so I figure it's best for me if I just looked it up myself. I took another look at the folder in my hand again. I'm sure they buried... aha, here it is. Some basic info on the car I'm reviewing.

This appears to be an AMG GT3, mechanically identical to the one HTP Motorsports ran in 2016's 24 Hours of Nürburgring, albeit with a vastly different livery due to copious amounts of time spent in Japan. Without Balance of Performance, the car produces 621PS from it's 6.2L V8 transplanted from its bigger sister, the SLS, and mounted behind the front axle, solely driving the rear wheels, as if that needed mentioning. The whole package weighs just 1,325kg, which is perhaps a bit on the heavier side for a GT3 class car, but light for what I'm usually reviewing, which tend to be modern, fat, and bloated "sports" cars.

"What a stupid name for a racing car", I quip. "AMG GT3 could mean any GT3 car AMG worked on. Hardly tells me what it is". Even before getting to writing the review, I was already finding problems with the car. "What's the point of having this engine in this car if I can't buy this car with this engine? I thought FIA wanted to make the race cars close to the road cars", I continue, almost as if on a mental momentum of complaining. Maybe that's why I've so much to say in reviews, because I'll complain about anything. Might be a Singaporean thing. "Amazing how much wasted space must be in the road car if you can still have space for a 6.2L V8 wholly behind the front axle. Says here the road car's weight distribution with the 4.0L V8 is 47:53? It's just meant to come with this engine, isn't it?"

Esther looks at me with no reply, almost with a quizzical, "am I supposed to reply to that?" look on her face. I sigh internally and get straight to business.

Missing its traditional gullwing doors, opening the Hatsune Miku car up and getting into her was customarily painful and difficult for a GT3 racing machine, as I weave and groan through webs of restraints and roll cages. God I'm old. All is immediately forgiven however, the moment you press the engine start button. If nature gave birth to mechanical, fuel powered bears... then this is undoubtedly what they would sound like. It is a sound that immediately commands attention and respect, even before travelling a centimetre in it.

I'll be honest: I've never driven a Mercedes. Ever. Not even in a simulator. A GT3 racing car is probably the only thing from the company could interest me, someone who's looking more for driver exhilaration than status symbols, and it's exactly what I'm popping my Merc cherry with today. The first, and pretty much the only thing I know about them as a stranger is that the three letters, "AMG", might as well be a diagnosis. An admission of lunacy, of no self restraint, of violent tendencies, and then somehow dignifying and excusing that behaviour via marketing. I'm quietly hoping the racing car shows a lot more finesse than that today. Though, if anything, the engine start already has me fully locked into full confirmation bias mode.

I ease the AMG out of the pits, letting the tyre and fluids get up to temperature before attacking the course, which gave me time to appreciate how weird the world currently is. The usually bustling Nürburgring, dream destination all year round for people all over the globe, is now completely barren and devoid of life, stands empty and roller coasters at a standstill. The track itself was quiet enough to hear birds chirping away before the AMG rolled by. As the cherry on the cake, someone with only one win to his name in an FIA race in a low split amateur lobby, me, is suddenly tasked to drive cars on said desolate tracks for reviews.


Even at low revs, the AMG is already burbling and cackling like it was some mad witch cooking up a storm in her lair, and here at Nürb GP, that last statement might be more literal than it sounds, as the HTP car this is based on finished 2nd in the 24 Hour race. When everything is up in running condition, I began to attack the GP Layout of the Green Hell. Nürb GP is an almost spitefully technical track, with arguably the most dangerous T1 still used on F1, back when they were still racing the real cars. Track limits here change with the marshals from race to race, and you'll barely find a braking zone that's straight. The technical track does open up in Sector 3, as it has a sizable back straight to let power inclined cars stretch their legs, albeit with a bit of a kink in the middle. The well balanced mix of technicality and power makes this an exceptional track to test cars on.

Pictured: Perfectly legal and normal.

It was great fun to drive a derestricted GT3 car for once, as the Gran Turismo Championships usually cripple cars via Balance of Performance, to either make them slower, or faster but more difficult to drive. With its original character on full display once you really wring it, the AMG handles starkly neutral, with nary a complaint from the car. It's a car that largely does what its told with the obedience, immediacy, and efficiency of a highly experienced butler. Over the course of the ten or so laps I spent attacking Nürb GP, I struggled to come up with any real criticism towards it. The front end perhaps has a bit too much suspension travel for my tastes, but I can understand its softness, given it's setup to do the full Nordschleife on worn tyres, which is a lot bumpier than the paved F1 racetrack that is the GP course.


Make no mistake, for all my trivial complaints against the car, this is a properly solid racing car. Not only is it fast, it might just be the easiest GT3 car to drive, as well, seeing as it's front-mid engined instead of rear-mid engined. It also lacks any turbocharging, which separates it from the shockingly vast majority of FR GT3 cars in Gran Turismo sanctioned events, meaning the engine won't suddenly punch you in the guts and swing the rear out on you as and when it pleases. It seemed almost only natural that Mercedes-Benz won two World Tour events in a row, given the sheer brilliance of the AMG GT3. With Kaminori Samauchi's consistent blessing, the AMG is still one of the faster cars in a straight line even with BoP applied to this day, as Gr. 3 looks to slow down more and more with the nerfing of the well known missiles like the Supra, GT-R, and my long time Manufacturer Series weapon, the erstwhile Atenza.


Competitive merits aside, the AMG is a hell of a hoot to drive! The NA V8 engine is seemingly never out of breath wherever and whenever you ask it for power; even when scraping 3.5k rpm in 2nd in the penny pinching tight T1, the M159 engine gets up and goes with all the grace and speed of an athlete kipping up, barely missing a step, so natural you'd never guess it wasn't meant to happen. There was never a moment where I didn't have enough power to break out the Racing Hard shod rears of the car if I wanted to. Fully revved out, the high pitched transmission whine perfectly contrasts the low pitched growl and scream of the V8. This car is simply endless theatrics, as each gear change, up and down, sound so disgustingly and satisfyingly violent, like cocking a gun with exaggerated cartoon violence, and the "gunshots" are the endless cackles and burbles of the exhaust as the car trail brakes into the corner. This is truly a car that will never stop shouting, never stop entertaining, and never stops being a cartoon character. The smile on my face when I drive this thing would have to be surgically removed in order to not narrow my tiny Asian eyes more and obstruct my view out and over the long bonnet of the car.

In a highly regulated, often adjusted for balance field that is Gr. 3, the AMG GT3 is consistently a very clear cut above its competition in terms of refinement, ease of use, and even fun factor. And that I think is the highest praise I can give to a racing car. So Mercedes CAN build proper sports cars when they want to! Or was the suspension done by HTP Motorsport?

After ten or so laps flat out, I eased the AMG back into the pits, a tail of burbles and crackles following close behind. I'd be offended if these sounds aren't stock sound effects in Vocaloid. Taking extreme liberties with track limits, particularly in the entirety of Sector 1 and in the last chicane as per drunk Gran Turismo marshals officiating, I set a lap time of 1:58.377, after ten or so laps of going flat out. Maybe I could've shaved off a tenth or two more if I really dedicated more time to it, or if I let the fuel levels drop more, but I figure with the inane track limits and lacklustre skills, bleeding edge lap times weren't what they hired me for. I'm not the fastest driver in COTW; I'm the cheapest. Apparently.

Esther the editor was in the pit garage when I backed the AMG in. "Are you done?!", she tries to shout over the idling of the racing engine blaring behind me. Her business suit is usually a perfect fit for her quiet and undisclosed personality, letting her blend into the background of previous settings in our meetings unnoticed, belying her rather cute appearance if one were to spend any time looking at her specifically. Here in the pits however, with her hands over her ears propping up locks of hair in a frayed mess on either side of her head, trying to shout over a racing spec 6.2L V8 engine, she couldn't be more out of place if she tried.

"Yeah, I should have enough material for a review!", I shout back after killing the engine, finding it hard to modulate and judge an appropriate volume after having spent a solid 20 or so minutes at full tilt in a racing car, ears still ringing in a now dead silent garage.

"Good! I'll let my colleagues know you're ready to take the Zonda...", she, too, continues to shout, before awkwardly trailing off in volume as her sentence continued, realisation hitting her how loud she was unintentionally being. Her face was quickly hidden by her adjusting her specs again, she quickly looked away in embarrassment and started to scuttle away as fast as her bandage skirt and high heels would let her.

"The WHAT?!", I shout as I clumsily fling the door open, this time half intentionally as she was already putting distance between me and herself, and half unintentionally because I REALLY couldn't hear what she just said. The ringing in my ears and the vibration still reverberating through my body made it sound like she said a Honda or something. I wasn't aware of any plans for oil leaks today.

Too late. She was gone. I know she heard me. What a fucking asshole!

Admittedly, racing brings out the worst in me, as I get very angsty, impatient, and short tempered. It's just the nature of racing, I think. It's just very hard to recalibrate your mind to work at human speeds when it's been so attuned to react to things happening at over 250km/h with your life on the line. Does it excuse the bad attitude? Maybe. I don't know. How would one describe this to someone who's never been in it, and felt it for themselves? It's a very primal thing, almost. But it's also precisely because of this, coupled with the ability to know, trust, and push something to the limit in life, that makes me feel alive when racing.

Helmet and gloves off, racing suit partially torn down to slacks, I sat down with a bottle of water, going through the photos of me on the track on the laptop and trying to formulate my thoughts and align them into a cohesive direction for the review. Esther returned from the door which she hastily disappeared through, now back to her calm, composed, unshakable strides. With an introductory push of her spectacles once again, she begins in her all too familiar, devoid of feeling voice. "Mr. Lee, may I know what are you doing?"

Looking up at her, now hunched over my head, I try to reciprocate the coldness in effort to hide a blush. "Huh? Oh, just making sure I've enough shots for the review, to see if I need photos of anything else before hitting the showers. Why?"

"The showers? Oh, no, that won't be necessary. This week's car is ready."
"...huh? I just drove it. I hav-"

On her politely outstretched hand is a key that looked as vintage as it was plain. A silver, metallic round head with 6 circles on it, with an unassuming key sticking out of it. It looked like the key to a pre-WWII beater Honda. While consciously puzzled, subconsciously I reached out in a daze in response and took the key. "What am I supposed to do with this?"

"Drive it for a review. It's just next door."
"Two cars this week?"
"Not technically, no. But it's a special request."
"Am I getting paid for two cars?"
"That depends on you."

She leads me around to the garage next door, and as I rounded the divider wall, my jaw dropped to the floor.

Sweet mother of baby Christ on a bike...

Cloaked by its own bare carbon shell in the darkness of the unlit pits was a figure that was... exquisite, would be the first world that comes to mind. Distinct, would be the second. Crazy, third. And after that, any amount of adjectives you could feasibly throw at it seemingly gets drowned out by the insanity of it all. Such is the sensory overload you get with this thing, even as barely more than a silhouette as I'm seeing it right now. This is a car with a presence, if I could say that without losing my job as a writer for making the understatement of the century.


It was a Pagani Zonda. A 1.8 MILLION USD, 1 of 15 ever made, top of the line, Zonda R.

Now I see where this week's budget went.

"So, ah... I'm... supposed, to drive this?"
"Yes"
"For a review"
"Yes"
"And I can complain about it"
"Yes"

I asked those questions and I got direct answers, yet what I was trying to ask was, "what am I doing here? What is this? Why am I here, doing this? What have I done in my life to deserve this? Is my life insurance up to date? Did my secondary school crush really hate me?" And I didn't get an answer to any of that.

"You'll need your earplugs", she said, before leaving.


I just stood there, dumbstruck, even after the initial shock and realisation of getting to drive a Pagani wore off. The Zonda R is an exquisitely beautiful car, with a booming, undeniable presence in any setting it appears in. No car has arrested my eyes with the same immediacy and firmness as the Zonda before. And perhaps it's not even fair to call it "just" a Zonda, because the R looks so vastly different from the few pictures of the road going Zondas I've seen. I'm hard pressed to find any panels they share in common. The door looks the same, and... that's... it I think. Every other panel, in naked carbon fibre, has had holes engraved into them with artistic and painstaking flair, in the name of performance, or has had other aero parts drilled into them. The fragile looking, leaf like, flowing side mirrors now sit atop turbulent air extractors on the front quarter panels. The bonnet has twin alcoves digging into where a Roadster's roof would stow. It has air intakes on its roof and sides leading to its rear mid mounted V12, reminiscent of LMP1 cars not just in scoops, but in dimensions and stance as well. It sits at a shadow scraping 75mm and 90mm ride height front and rear, and in a dark room like the one I'm standing in right now, you'd almost think the Zonda was a huge road hump with how visually tightly it hugs the road, even at a standstill. And to top it all off, the exquisite, stretched out, graceful, and aggressive exterior is pinned down by huge, towering aero parts, most prominent of which is of course the rear wing that spans the entire width and height of the car. And it's a car that never lets your eyes go once it has them; the more you look at it, the more intricacies you find. The winglets on this Airbus worthy wing are actually drilled to the body, forming a complete seal, and are thus almost wing stands in themselves. There are actually two wing blades, and each look to be adjustable. And out the back, a copious length of what looks to be white-hot quad exhausts can be traced back through the playfully teasing, wide open grille, snaking into an engine bay that I'm not able to open up by myself.


I'll admit, I have a weakness for bare carbon fibre cars. I'll also admit that I didn't know I had said weakness until I saw a Zonda R. While minimal, I love what decals this car has. I'm especially a fan of how the metallic gold wheels and stripes perfectly accentuate and break up the car, giving viewers a real sense of proportion when looking at it. This is a car that, if I were to own, I would absolutely refuse to "decorate" with liveries or decals; it's perfect as it is. So perfect. Too perfect. Anything else on it would be uncouth and vulgar, and would only serve desecrate this art piece. Once someone puts their signature on something, you just don't touch it. You just don't.


...am I done? With this review? With this life? The Zonda R is almost a car you could appreciate and get your fill of by just... sitting and staring at it. Quietly. Alone. Any place this car ends up in immediately becomes an art gallery, a museum. No, no you don't eat chips in a museum. No you don't go running around in an art gallery. No you don't speak to someone else in a museum. You stop, you stare, and you admire. That is what you're supposed to do when a Zonda R is in the same room as you.

...I'm not done with this review, am I?

Fully suited up, helmets, gloves, earplugs, and everything again, I got into the not-at-all road legal Zonda, and it wasn't much easier than getting into the AMG GT3 earlier, given this thing's high and wide door sills that could have their own zip codes. I know carbon fibre is light and strong, but this thing feels so much like an art display I'm constantly nervous about breaking something, as art pieces tend to be fragile. Once I'm in, the whole admiration process begins again, except this time, I'm... part of the display now. I began to realise that this isn't something you put up on display and promptly leave be; this is something that's built, for you, the driver, to be in. This piece of art isn't complete without a driver the design is so centred around. Yet, in this cocoon of carbon weaves, it still gives you that same, satisfactory feeling as you did as when you were looking at it from the outside. I'm fine with never pushing the engine start button. I'm fine with never going anywhere in this thing. This, as it is, is good enough for me. It can be just as attention grabbing and intricate as any driving experience can be. This can be enough if you so choose. And this sense of entitlement, this sense of power of choice, this sensory overload, this indulgence, finally made me understand, if only a little, what it must mean and feel like to be rich and powerful. No other car, luxury or otherwise, has given me this sensation before.



"This is a job, this is a job", I told myself, as I gingerly slot the key in and push the engine start button. And then, for just a split second, I could've sworn the entire pit garage shook apart from the SOUND of this thing starting. While I mentioned earlier the proportions of this car reminds me of a LMP1, the sound this engine makes is more akin to a late 80s Group C monster.


Going for the same warm up laps, it was immediately clear to me that this thing is a racecar, even if not advertised as one. It has a Mercedes sourced 6L V12 sitting aft my right ear. It has the same straight cut gearbox whine and associated violence in the shifts as the AMG I drove earlier. You still need a racing suit and proper ear protection to drive. The racing slicks its on do need to be warmed before you can fully exploit them. It has NO rear view save for side mirrors. It has deep buckets with 5 point harnesses. It has an engine killswitch and extinguisher as per regulations a race car would have to adhere to. The analogue tach in the centre of the wheel tells me more that this car has no airbags than the engine's revs. And, more prominently than any of the visually observable racing car chops, the ride of this thing is rock solid. There is no perceptible give and sway from the driver seat in the suspension when you accelerate, when you brake, when you turn. I used to think all track only, not road legal toys are stupid wannabe things, but this, this, is a proper racecar, seemingly built for a category not yet devised. It feels that legit.


Once the car is properly warmed up, and once I finally worked up the balls to, I began to explore the limits of the R on the track, and that's where the differences between it and the AMG from earlier starts to show. While the 6.2L V8 in the AMG sounds very "German", with its low grumble and heapings of torque over a comparatively low rev range, the 6.0L V12 in this is a high pitched screamer that makes its magic only when the digital tachometer is at least half full. This engine is more Italian than some Italian supercar offerings I don't want to sully this review with by mentioning. It's amazing to think that the same German company is responsible for both of these vastly different, yet each equally beautiful and enjoyable powerplants.

I want to preface my comments about the handling of this car by first saying this: this is a 750PS 6.0L V12 sitting in a car that has a curb mass of 1,070kg. It is absurdly, mind bendingly, needlessly, and irresponsibly fast. Nobody will be able to say that the R is easy to drive, no matter how skilled they are, no matter what they've driven, and no matter what their yard sticks are set to in terms of ease of driving. But, for what it is, I find it surprisingly easy to drive. Thanks to its aero, bespoke Pirelli racing rubber, and long wheelbase, coupled with its zero give suspension and chassis, it's not as wild and twitchy as one might fear, and minor mishaps can feasibly be caught and corrected in the hands of an experienced racing driver. I'm very happy to report that, for all its seemingly impossible accolades and celebrity status, this car absolutely has adequate tools to contain itself. This is a car that, honestly, is as scary as you want it to be. If you're driving it sane and reasonable, it won't suddenly decide to bite your head off, chew it up, and spit it at a wall, even if it sounds like it can, will, and wants to.


The car is very well composed and controlled in just about every situation, except for corner exits out of the slower corners, when you have too much gear and not enough aero. This is where the "it's as scary as you want it to be" part comes in: you could downshift into 2nd, but do you really want to? Think about your wife. Think about your kids. Think about your career, your rep as a racing driver. Your sponsors, your fans, and everyone in your life that has gotten you to this very moment here, sitting in a Zonda R. Think about the fact that this is only 1 of 15 Rs in the world. Do you want to be "that guy" that wrecked a 1 in 15 car, costing someone billions of dollars? Are you willing to put all that at risk, just to accelerate out of this corner in 2nd instead of 3rd? Is that tenth of a second out of this one corner worth risking all that for? Because for all the praises I sing this car, for how laser focused with the state-of-the-art manufacturing and materials in it, for all the non road legal slick tyres and rock solid suspension, nothing we currently have can rein in 750PS in 2nd gear. The R is like a very patient god only barely tolerating your BS; take too many liberties with it, place too much faith in your own abilities, step out of line just a bit too much, and it will gladly kill you, no ifs, no buts, no hesitation. And, no. No you don't get to blame the car if you crash. With road cars, you can blame the suspension, you can blame the tyres. You can blame the aero, the chassis, the turbo... anything, because they're all compromised products. In this? Everything is sharp, precise, proportionate, and immediate. It does what you tell it to. There is no delay, there is no compromise, there is no excuse. You have all the information at all times. The car is always communicating. If you die in this, it's because you told the car to kill you when your judgment erred, or unseen road hazards. It's really that simple. And if the threat of death or permanent injury isn't enough to make you respect this car, then surely the shame of being "that guy" that crashed an R would, because you had no excuses.


And, you know what? It doesn't even have to care. It has no rules to follow. It doesn't have to cap its own power to fit into any category of racing cars, nor does it have to swallow ballast to appease its competition. It doesn't need any handicap to its own aero or dimensions to restrict its cornering speeds to be safe enough for the sponsors. It doesn't need to clear a speed bump, nor does it need to pass any emissions test. It's proudly insane, and you buy it because of its undiluted, unhindered, uncompromising lunacy.

As I've said before, this is a legitimate racing car. It might be more racecar than most race cars are racecars. In fact, this thing might be too racecar; it's suspension I find is set WAY too stiff, even for a paved racetrack. On my first flying lap of Nürb GP, the car hopped and I caught some air on the inside of the right hander of Schumacher S. It was a proper code brown moment, as for all my time I spent on that circuit, I've NEVER even felt a bump there. The rumble strip felt flush with the road. However, the R was set up so stiff that something bona fide racing cars plow right over sent the R hopping. I survived physically without a scratch, but mentally, every "small" moment like that is a scarring one. Yes, I'm man enough to admit it. I'm scared in the Zonda R. I'm terrified. Petrified.


This week on Paranormal Activity, we attempt to find out what caused this phenomenon of a lift on Schumacher S.

Despite the hop, my first flying lap with the R I'm told was a 1:57, already beating out the AMG GT3. Given that even invisible humps can hop the R, I avoided cutting the final chicane of Nürb GP as much as I would any other racing car. I eventually settled for a time of 1:55.343, more than three seconds faster than a derestricted GT3 car, which I was very surprised by, to be honest. Yes it has way more power. Yes its a bona fide racing car. But three whole seconds? With less corner cutting than the AMG? I wasn't even using the outside rumble strip of the last turn, because I didn't want to bottom out the car. The R I also felt lacked a lot of the finesse and willingness, a lot of the "chuckability" of the GT3 race car, no doubt because of its longer wheelbase, and also because of its not legally, but morally obligated hand holding understeer for stability. The R was also missing the last 10 or so percent more downforce and braking performance I personally want out of it. I'm sure the aero bits can be adjusted to make more downforce for a technical track like Nürb GP, but I felt it unnecessary as I think it's already made its point loud and clear: it's bloody fast and it has my respect. And because I didn't want to wash out any more stains from the interior of the car.


Gingerly lapping it round before going back into the pits, I actively avoided any dry leaves on the track and hoped this car doesn't trip over its own shadow, lest I set a new Guinness World Record for number of times a car flips. I was told over the radio to simply drive the car into the truck as it was to be sent to Spa later today. With the car properly lined up on the AMT truck, I stumbled out of the car with the grace and splendor of a drunk duck. I was drained physically, emotionally, and bowelly.


Given that neither of those cars came with license plates, we moseyed over to our next destination in a rental Mazda Demio. 2 hours away by car is the best racetrack in the world in my opinion, Spa. Given that I was on public roads with other drivers, and the fact that I had a passenger with me, I was nowhere near the limits of the Demio. It thoroughly impressed me nonetheless, because it felt super light even in city and highway driving, with perhaps a way overboosted power steering. I'm floored by the fact that this rental was even a manual, when most cars don't even come with manuals anymore, and I don't get to drive many diesels. I jokingly brought up the possibility of reviewing a Demio, but Esther very grimly and seriously warned me not to bring it up in the presence of the other COTW folk, because apparently the last person that suggested a Japanese FF car was tied to a stake and shot in the presence of their loved ones.

We had one day at Spa to test the cars, but as I've read online about the climate of the area, it is often marred by storms and fog. Such was the case came review day, and we waited and waited to see if conditions would improve. At around 1100, we gave up all hope of the possibility of a dry track, as the rain wasn't showing signs of letting up, and the track would take a long while to dry even the skies did stop pouring.

Pirelli had supplied us with deeply grooved Heavy Wet tyres for the Zonda R, for just such an occasion, and had even helpfully replicated the stock "Zonda R" stickers on the tyres. And while I was apprehensive, I also have to admit... I'm curious. Very, curious.


As usual, a warm up lap started the session, this time more necessary than the last, to get a feel for the track conditions, and how much grip these Heavy Wets would offer. As I crested over the final left kink of Raidillon Eau Rouge however, the car acted up, lost control of itself, and very, very nearly spat me into a wall. Thank FUCK I was going slowly when it happened!


I can't freaking believe this car! It actually lost itself over the rumble strips of Raidillon! I've raced the worst of cars in the worst of conditions at Spa, and I have NEVER had a car mind the rumble strips that much before!

On the next lap, I went over Raidillon, this time much, much slower, but still taking the same line. I made it past the rumble strips on the inside of the turn this time, but then promptly lost it on the paved part of the track, this time ending up much, much closer to the wall than the last time.

Editor's note #1: not the photo of the actual scene being described.

And that, ladies and gentlemen, is how I learned that the road surface of the final left hander of Raidillon Eau Rouge has a very slight dip and adverse camber on the outside half of the paved track. And that perfectly puts into context just how ludicrously stiff the suspension, and also the chassis, of this thing is. In the wet, it really did feel like you were attempting to slide a 2D plane across a 3D track. There is NO give in the suspension at all. Even microscopic undulations you never knew were there would cause the car to lose itself. In that sense, driving this car in the wet was akin to brushing your bare fingers across the track to get a feel for it, because you really feel every single bit of it. I have never had this sense of fidelity in road feel before, and I'd perhaps enjoy it more if I wasn't nearly about to die every time I learn something new.


Driving the R in the wet is well and truly the most difficult feat of driving I've ever attempted. It took hours upon hours of failed runs before I could string together three incident free laps. I realise it's my job as a reviewer to describe the experience, but I find it so overwhelmingly stupid and dangerous, so complicated that words would never do it justice. I'm just going to sum it up with: "don't try it". The skills required to just keep it pointed in roughly the correct direction is too immense for me, let alone setting a fast time.


But it was a very eye opening and humbling experience. I think I'm a better person for having experienced it, and I realise how contradictory it sounds for me to not recommend anyone try it.


If I were theoretically given an opportunity to own a Zonda R, would I? Probably not, to be honest. Yes, it's a very, very beautiful thing. I respect the hell out of it. For me personally, it's hard to fall in love with, because it's just... too much, for my old man glands. It's hard to love someone or something when you fear and respect them too much. It offered the rawest, purest driving I ever had the privilege of experiencing, but it really is just too much for me. I know I usually harp on sports cars for not being raw and sporty enough. Well, this is me getting what I wished for. This here is my comeuppance. This here is my limit of what I can take.


Editor's note #2: not enough complaints for strong conclusion pls fix asap submit by 28th.

The wipers are pretty shit. This is the lowest it goes, and I can't see the road because of that.


Did anyone test drive this in the wet wow how can they sell something so dangerous it's disgusting. Can't believe they put rain lights on these things to mislead people into thinking it's driveable in the rain. -2/10 not for mortals' consumption.


Editor's note #3: Ted from Technical wants you to know you should've used traction control. Says you're an idiot.

Editor's note #4: My name isn't Esther.

Monday 8 June 2020

Final Fantasy 7 Remake is a Shit Game

If you've to publicly execute me for my opinion, at least make it quick and painless.

I do realise I am in the minority that is wholly unimpressed, and even pissed off by this game, and I also realise that a lot of my displeasure stems from personal beliefs, expectations, and perhaps unfair standards that no doubt makes me sound like a whiny, petulant child. I'm writing this regardless because maybe someone out there can gleam some use from my thoughts and opinions, but mostly because I either write to vent, or throw my controller at the TV and hurt somebody.

I've never played any FF game before 7R. I've zero context and expectations for 7R in terms of story integrity, the new things they've added to the original, etc.. I'm also writing this before having even completed the story, which I realise is unfair, but had it not been for the fact that my copy of 7R is a borrowed one, I'd have snapped both discs and burnt it in a dumpster fire, because it got me so angry with its gameplay. Safe it is to say then, that I am done with this game, and this is as fair a review and critique I'm going to be able to give.

For the most part, my criticism of 7R comes from an action game standpoint, seeing as I've yet to complete the story and can't comment on that. I've been spoiled silly by the best action game in the history of gaming: Devil May Cry V, and I will be drawing comparisons from that, as unfair as it might be. I do realise the original is a turn based RPG, and in spite of its looks, it is equal parts RPG as it is an action game. However, that shouldn't be a valid defence of the game, because half the game being good is like saying half a marriage being good is a successful marriage; both sides have to commit and complement each other to truly work in a symbiotic relationship. And I'm saying that 7R is a bad game because it attempts to marry an RPG game with action elements, which hasn't worked out in my opinion.

Minor spoilers in boss names ahead.

For starters, this game is spitefully obtuse with its game mechanics. Even if you had the patience to dig through its taverns of tutorials, there are just some things it doesn't bother to mention. The game's dodge is entirely useless, as not only is simply running away faster, but the dodge itself has no invulnerability frames (I-frames) at all, meaning that you are entirely susceptible to damage even when dodging. Why the hell is the dodge even in the game if it doesn't give you I-frames, or if it doesn't make you dodge faster? It's a complete joke of a mechanic, and the fact that there is even a Materia that works with dodging at all is just proof of how unaware the developers are of how useless the dodge is, or what makes a good action game a good action game. If you don't want to give the dodge I-frames to maintain realism, at least make it faster than simply running away! And I'm using the comparatively athletic Cloud and Tifa's dodges for this; Aerith's dodge is so pitiful, it might as well be for aesthetics only.

During the first Reno fight for example, he has a lunging attack that deals about 600 damage with a clean hit. Even if you kept running in the same direction before he even starts his charge up animation for the lunge to after he executes the move, you will be caught by it. That's entirely bullshit, because it's not like he tracks you with it or anything. It's simply too fast to physically dodge, unless you're literally on opposite ends of the arena. I can't stun him out of the animation either, be it with physical strikes or the slow ass magic spells he's weak to, so I guess my only option is to block it. But even when you're blocking it, you still take well in excess of 200 damage, and the knockback on it is so severe that by the time you recover from the knockback, so has Reno from the cooldown of his animation, which means you have no window to attack him after his cheap, spammable lunge. So I was getting stone walled there for a bit, thinking, "well what the fuck am I supposed to do?" I can't out run it, I can't interrupt it, and I can't block it. Everything the game has taught me to do, has not worked.

Asking a FF fanatic friend of mine for advice, I learned that you're supposed to block Reno's lunge, but in Punisher Mode, as blocks in Punisher Mode has an auto built in counter attack upon taking a hit, thereby cancelling the knockback you'd normally receive, and the instant nature of the counterattack means you open up Reno for follow up strikes to punish his lunge. My first reaction was, "well how the fuck was I supposed to know that?" More importantly, "what would've led me into thinking to try that?" Punisher Mode is activated by pressing Triangle as Cloud. Triangle is the "slower, stronger hit" option for all the characters I've played up to that point. I'd use it mostly to build up the pressure gauge of enemies if and when the opportunity arises, or simply to wail on an enemy I've staggered entirely. It's an entirely offensive thing, so why would I think the block works differently in Punisher Mode? It's fine for games to not outright tell you everything; in fact, I believe that games shouldn't do that, because it destroys a sense of wonder, experimentation, and discovery. But when something is required of me, I fully expect the game to either tell me it's required and how to do it, or it shouldn't be required at all. The Punisher block is required in the Reno fight. There is literally no other viable option with any merit to react against his lunge move. If you didn't know it, you'd die from death by a thousand (or, well, six) cuts.

It's instances like that that really put in the spotlight that FF is an RPG game first, action game second. 7R has been praised for its expansive pools of options it gives you with which weapon you use, how you build each weapon with enhancements and Materia, and a multitude of unique abilities each weapon can learn from their equipped weapon. It all sounds very impressive on paper, but in practice, you only have ONE option, because the action half of the formula simplifies it to that.

It's going to be very difficult to explain this, but the action genre has a few unwritten rules that make the games good and enjoyable, in the same ways that the RPG genres have their own set of rules. One of these unwritten rules for an action game is, "It must be possible to take no damage if the player is good enough". However, this is immediately thrown out the window even in the demo of the game, and the problem persists in the full game; enemies are wholly willing and perfectly happy to snipe you from off screen, with zero visual cues because, duh, they're not being depicted on the screen, and little, if any, audio cues, because they are most likely being drowned out by everything else happening around you, and are most likely at a distance from you as well. Compare and contrast this to how a series like Devil May Cry handles this situation, for example.

Even from the first DMC game back in 2002, it was a conscious decision programmed into the game that "thou who ist offscreen shalt not attack thy player". This way, only the enemies you can clearly see will attack you, and to balance this shift of power to the player, enemies that primarily attack from long range have very loud, distinctive audio cues, such that the player will hear them and be given a chance to react. If you've ever played even the first Mission of Devil May Cry 3, for example, you will know for sure the Hell Lust's cry, and that it signifies it's doing its lunging slash, because it is required knowledge. You might get caught the first, second, or even a third time, but certainly never a fourth. The game subtly teaches you its mechanics and conditions the player so well, it puts our education system to shame. The toned down off screen aggression, coupled with distinct audio cues for each enemy means that you as a player has all the information at hand at any time. If you take a hit in DMC, you have no excuses. You're never left to think, "what the fuck was I supposed to do there?", "how the fuck was I supposed to know that was going to happen?", nor are you ever left feeling like you've been hit by a cheap shot. You have all the information, and you are wholly in control.

With 7R, it is exactly the opposite; almost every hit I take left me thinking, "what the fuck was I supposed to do there? How the fuck was I supposed to know about that?" Even the first boss in the demo, the Scorpion Sentinel, fires volleys of homing missiles that you have no hope of dodging or hiding from. You're just meant to stand there block, weathering the rain of hellfire and continually eating damage. Same with the Airbuster boss. Hell, you get shot and chipped out of battle in some situations. In an action game, the HP bar of your character is a sacred thing. It is a direct representation of how well you're doing as a player, and to take away unfairly from it feels to me like taking marbles from a kid: unjust, unnecessary, and cruel. Taking damage is directly wired to my brain as, "you're doing that wrong, stop or change that", almost akin to physical pain in real life. Good action games condition that response in its players. But how and what am I supposed to do in a big, open space, with a volley of homing missiles after my face? Stand there and block like a dumbass, I guess? Again, there's only ONE plausible thing to do in that scenario, which is a complete slap across the face of all the complexity, depth, and options that the RPG side of the game gives you, unless you're telling me I missed picking up a "Missile o deflecto suru" Materia in my playthrough. I don't care what your Materia loadout is. I don't care what skills your character knows, you're blocking, and that's that. I don't know about you, but that's just not fun to me. In other instances, like when the Hell House has its God Mode up, you're literally just meant to run around like a little chicken shit until it wears off, which is in huge contrast to this strong, badass mercenary I'm led to believe Cloud is. Is that fun to you? Is running in a circle waiting for an arbitrary, spammable move by a boss to wear off fun, to you? It sure as hell isn't, for me. I'm not saying bosses shouldn't try these tricks to add variety and flair to them, but at least give the player some counter play to it as well, instead of forcing them into ONE suboptimal play that isn't even fun!

Compare and contrast this to how DMC handles its bosses. You have a multitude of movement and dodging options in addition to your standard dodge, some of which even have I-frames like a dodge. With Nero, you can deflect projectiles with an Overture blast. You have a Gerbera blast which not only swiftly chucks you into a direction of your choosing, but also has the same deflecting characteristic of Overture. You have Table Hopper, a faster, less cooldown, dodge activated by dodging at the last moment before an attack hits, and you can chain up to three Table Hoppers together to turn it from a defensive move into an offensive distance closer. Your gun shots can also deflect projectiles, and you can parry most melee strikes from enemies with your sword. Hell, even your jump has I-frames, because the game recognises that you have reacted in time and made an effort to dodge a hit, and rewards you for it. As Dante, your movement options are almost too numerous to list; so much so, truly skilled players can beat bosses as Dante without ever touching the ground, for example. Dante is made out to be the all conquering, ridiculously overpowered, never taking anything seriously badass in the game's narrative, and it is wholly backed up and represented in the gameplay, without it ever feeling easy for the player. Now I want you to compare this to Cloud running away like a chicken shit from a house chasing him, or standing there hiding behind his sword while taking missiles to the face; it really breaks the immersion when you're forced to be on the defensive like that. I keep thinking I must be doing something wrong. "There HAS to be other ways of doing this! There HAS to be a way of not taking damage! I must've missed out on an important tutorial or game mechanic!", I keep thinking. But, nope, you're just meant to run like a chicken shit and hide behind your sword in 7R. Even speedrunners are forced to wait. Can you not sense the agony and irony in that last sentence? Not only is that a slap in the face of the complexity and expansive options to tackle every problem the RPG side of the game promises, but it even eats into the narrative the game is trying to tell as well. Some kind of merc you turned out to be, huh Cloud?

Surprisingly to me, there actually are no damage boss fights of 7R on YouTube when I searched, though not no damage runs as of the time of writing, about 2 months since the game's release. I'll admit that the prospect of no damage runs in 7R is a bit ludicrous, as no damage implies that the AI controlled party members take no damage as well. But, regardless of the reasons why, no damage fights in 7R involve curb stomping the bosses, pressuring and staggering them to death even before they get to act, as if they do act, you're taking damage, no ifs, no buts. I want you to contrast this to no damage fights, or even no damage runs of DMC V. Every player has a different method to achieve the same result, because the toolbox is so large in DMC V, some of which makes me even shout "HOLY SHIT WHAT THE FUCK I NEVER KNEW YOU COULD DO THAT!" (you ever tried parrying a rushing sword strike with a Shoryuken uppercut? No? Well, see it in action here vs the Final Boss). You can run like a chicken shit, sure. You can even hold the block button for quite a while if you have to. But those are the suboptimal, not cool, and not fun ways to play an action game. I implore you to watch any no damage fight of DMC V, and note how there isn't a wasted moment where nothing is happening, or that the player is forced into running or hiding. There is no one single "correct" way to tackle any given situation. And that right there to me is what makes games, as an interactive medium, so unique, powerful, and expressive. This interactivity, this expansive list of options with no correct answer, is what makes a game a game. If everyone is forced into one solution, I might as well go watch someone else play the game on YouTube. I might as well go back to school. What unique experience do I stand to gleam from playing the game myself?

Given the super linear, curb stomping approach of no damage running a boss, pre-emptive knowledge of not only the game's mechanics in terms of loadout, but also each boss' specific weaknesses, is a requirement. That's information and equipment you're never going to have early game. This makes the game appear to me that you either know fully and exactly what you're doing, or you're going in blind and getting your shit kicked out of you for the first few fights until you learn. While getting my shit kicked out of me is how I personally learn, I find that there's very little bridging between the two extremes, which is very discouraging for new players, and makes the learning curve very steep. I watch speedruns and no damage runs of 7R hoping to learn something, but all I see is "the boss sits there pressured and staggered while the player wails on them". In most games nowadays when you die, the loading screens give you some helpful hints and tips as to how to defeat the boss, for example. In DMC V, you're even given a training mode where you can adjust difficulty, enemy health, regenerating Devil Trigger, weapon loadout, etc., for practice, such that you don't need to play and reload the same mission over and over and fight through the irrelevant crap before you get to the one enemy or boss you want to practice.

7R not only lacks any of that, but failing, learning, and retrying each boss fight is by itself an infuriating experience. "Retry from last battle" puts you mere footsteps away from triggering the battle you previously fell to, to give you an opportunity to rearrange your loadout if need be. That's nice and all, but this also means that if you die in a boss fight, the game has to load the whole overworld out of battle, put you through the chatter before the boss battle, load the cutscene you're trying to skip because you've already seen it prior, then load the boss fight proper. There is easily a minute in wasted time from the whole process, when the devs could have just made "Retry from last battle" an instant reset button to the fight, so the game doesn't have to unload and reload all the assets of the game for a cutscene I don't want to fucking watch. I'll admit the opportunity to reslot Materia is too important to pass up on a blind playthrough, but that too seems to me like an easy fix, just give me an option that says "Retry from before last battle" or something, I know I'm no game developer, but it's very hard for me to imagine that it'd be difficult to implement.

Most egregious of all is that most boss fights are segmented into two, or even three phases. What this means is that you could be struggling to stagger a boss, and when you do, you pour all your resources into making the most of the stagger duration when the boss takes more damage and is totally defenceless. Except, if you hit the threshold where the boss switches between phases, you just lose all your hard earned stagger entirely, along with all the ATB and MP of the move that you've selected, but has yet to execute, which is entirely bullshit. I worked for that stagger. I'M ENTITLED TO MY TIME. And the game is just like, "lol, nope", before snatching it away from you. Can you imagine paying for a massage session, or even just a visit to your doctor? You pay up front with your hard earned money, and after minutes of massaging or consulting, your therapist or doctor just gets up and leaves the room? THAT'S how staggering bosses feel like to me in 7R.

Boss phase transitions are always done with an unskippable cutscene, presumably to hide load times, but unskippable cutscenes in 2020 is blasphemy in the video game industry, no matter the genre. So, imagine if you will, that you have trouble on phase 3 of a certain boss fight. You die, you reload the overworld, you sit through the unskippable chatter of the in-engine cutscenes, you load the pre rendered cutscene*, you skip the pre rendered cutscene, you fight through phase 1 of the fight, you sit through an unskippable transition cutscene, which can easily last up to 30 seconds (see: Hell House phase 1 into phase 2), you fight phase 2, and then you sit through another unskippable transition cutscene before you get to retry the part you fell to the boss. I'm sorry, but don't you get tired or frustrated even reading all that? Imagine having to sit through it all, barely in control, with the frustration of getting your ass walloped by bullshit attacks and unavoidable damage and having to run like a chicken shit throughout. It's a cycle that I almost want to say was designed from the ground up to build frustration, except I don't understand why a game developer would want to intentionally turn off a player if they aren't trying to sell me solutions paid for with real world money. Are these transition cutscenes really necessary? And if they are, why design the boss fights to require them? It really breaks up the tempo of a fight when I'm just forced to sit idle for THIRTY SECONDS doing nothing, while a boss flexes its dick reciting to me, "this isn't even MYYY TRUE FOOOOORM!" I could take a piss break in thirty seconds in the middle of an otherwise high intensity fight. Again, it completely breaks the mood and flow of the narrative. And again, I want you to take a look at what DMC V does. It also runs on the PS4. It was released more than a year before 7R. It also has bosses that transitions from phases, using different attacks. It doesn't ever take a break from the flow of the fight and groove of the player to transition. Why should 7R?

*I know the cutscenes aren't pre rendered, per se. But they're not done entirely in-engine, either. It's a weird mix of the two where you get better meshes and even properly mo-capped character and face movements with better lighting but no camera control. It's something I find jarring, because the non mo capped, in-engine dialogue moments where you have camera control look starkly worse and janky in comparison, and the in-engine dialogue isn't skippable as a cutscene, because it's not a cutscene, just a script in the game. It's not a big deal, though.

The fight that made me put down 7R was the fight with the Ghoul boss, after the Hell House and twin fireball bombs made me rage severely. It, aptly, I think is the ultimate culmination of all the issues I have with the game. The boss has unavoidable, homing cheap shot missiles at the start of the fight. It can just decide to become invincible with no startup animation or warning with Incorporeal, as and when it feels like it. It's so large that when I get right up to it to hit it with sword attacks, I can't see most of the boss' body, and hence can't tell when or what attacks its using. It uses so many attacks at once, it's impossible for you to see everything you need to see to avoid getting hit, and each hit has lasting repercussions like being afflicted with Silence, or becoming bound entirely, and most of the cues for its attacks are bullshit. Piercing Scream is a huge Area of Effect move around the boss, effectively a "fuck you stay away from me" move, but it has no indication of its range whatsoever, so you just have to run and pray you're far enough. Telekinesis brings objects so high up into the air, you can't even manually control your camera to see the objects. You're just meant to run and hide behind objects in the battlefield to avoid the objects thrown at you by Telekinesis, but I've had moments where the objects thrown by Telekinesis hit me regardless, through the objects laid out on the field. These objects also block your spells' travel, but not the boss' unnamed Ground Getsuga Tenshou move. The boss somehow expects you to look into the sky with both its homing missile shots, Telekinesis, and itself being in the air, but also somehow expects you to simultaneously look on the ground for cues for the ground based Getsuga Tenshou, Balefire, or Phantasmic Flurry, as the ground glows blue and red respectively when those attacks chase you. This boss has SO MANY "run like a scalded dog" attacks, and as with everything else, I find that you can't run fast enough to avoid it most of the time, especially if you're in the middle of an attacking animation yourself when the warning comes, and you can't cancel out of your attacking animation. All this running means you're forced to choose between looking where you're going and losing track of the boss in the process, or you keep the camera locked onto the boss while running against the camera, meaning you have NO IDEA if any of the randomly placed objects will block you as you're running from twenty million attacks the boss throws at you. Not only does your character get caught in the objects, so does the fucking camera. Most of the time in the fight, I CAN'T FUCKING SEE ANYTHING.

I am aware that perhaps I'm a shit player who doesn't know the proper strats and tools. But is that not the job of the game to convey that to me? Why should I consult other media and people on how to best consume a product? You don't buy a board game only to look up how to play it online, do you? You have my attention, now it's your job as a media form to keep it for as long as you can. Don't make me go elsewhere to ask how to play this game. You would think the product and its makers would want me to enjoy it the most out of anyone, yet I don't find that conveyance anywhere. I mentioned above how a good action game teaches its players and conditions certain responses from them, and if you don't even attempt to convey the basic rules of the game, forget out that idealistic crap like teaching and conditioning.

Yes, I'm aware the game has a Classic, and even Easy mode to simplify and trivialise fights. But here's the thing: 7R is a game. And as a game, is it not by definition, meant to be played? If I picked Classic or Easy, then the game becomes less of a video game, and more like a minimally interactive movie. And that in my mind makes it a failure of a game, especially because it isn't advertised as a visual novel. It is undeniably an action game. It is by definition of genres, an action game. And who's ever heard of, or want an action game where there's trivialised action and involvement?

This difference in focus I find is the undoing of 7R for me. To draw one last comparison to the DMC franchise, the DMC series is primarily a game, first and foremost. It knows this and never compromises on the gameplay for storytelling. It is fun to play. And while you might think that a comparison between 7R and DMC V is rather unfair, I contend that they are more similar than one might first expect. Both are released within 13 months of each other on the PS4, with strong roots to their past titles. Both have elements of RPG strength building and loadout arrangement to supplement the action based fights. You still have to unlock and buy skills for weapons you have to earn in the story in DMC. You still have to decide which weapons to bring and what order to arrange them in. The insultingly simplistic appearance of DMC's storytelling I find is its most underrated, and perhaps its most beautiful asset. At first glance, the plot can be seemingly summarised as, "this here's a bad guy. That here are are hoards of demons. Kill them because they're evil". But if you were to dig deeper into the plot of, say, 3 and V, I think you'll find a lot of things left unsaid between the lines. I find the character development and motivations of each character in 3 and 5 to be just as compelling and moving as anything as I've seen of 7R thus far, if not more. Yet, DMC never compromises on the gameplay for storytelling.

I don't care how good your music is, or how sexy the characters are. It is a game, does it play well? If I drive my car into a workshop for routine servicing, I don't care how good the coffee is in the waiting area, or if their receptionist lady is hot and single; it is an auto workshop, can it service my car? Everything else is only a nice bonus that comes after, if at all. 7R is by definition and heritage, a game, but feels to me as though it desperately wants to be a 20 hour movie instead. Given the super linear approach to combat, along with how 7R feels more like a story first and game second, I'm just going to watch the whole thing on YouTube. If I want to watch a movie, I'd rather watch it on my computer or phone, because I don't have to boot up a specialised device for it. I can multi task while watching the movie, or I could be lying on my bed not having to worry about controlling the movie.

I'm glad I didn't pay money for this.