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hirocimacruiser · 2 years

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Article on a MiNes tuned S13 Silvia.

the power of reason

New Starting Silvia powered by VX-ROM

A sticker casually pasted on the appearance of the quiet eyes, only that letter of MiNe'S

The performance of this car is secretly conveyed.

It's time to be smart. The need for bodybuilding is gone.

Achieves naturalness like 3ℓNA

There is something remarkable about the high speed of modern information transmission. That "speed" is backed by technology, which is why it has commercial value. I can't help but be surprised when I hear it.

Of course, "new" tuning of a car is different from large-scale tuning such as removing the engine, replacing cams, pistons, exhaust pipes, and turbos. (Although there is also tuning), we will modify the engine management system, which is highly computer-controlled, to maximize the potential of the car.

smart car

Computer-tuned New Silvia

It indicates the future direction.

It can be said that this is the basic concept of tuning called “computer tuning”. In that sense, our stance on tuning is the same as fine tuning, the so-called “balancing,” which involves adjusting the slight weight differences in the moving parts inside the engine to reduce friction loss and assembling them precisely.

I don't think so. So, the preamble has become long, but the creator of this 2L Silvia computer tuned car is this minute

The pioneer of the field, "Mines". The original Silvia K is 205ps, 28.0 kg/m from the SR20DET engine, and the maximum boost pressure is 0.72kg/cm. On the other hand, Mines New Silvia is tuned up to 260ps, 35.0kgm with 0.9kg/cm boost pressure setting. This is accomplished simply by rewriting the "rom" of the computer that controls the engine (although this is a task that requires an enormous amount of energy).

Mine's had already completed SR engine ROM tunes for the Sunny, Pulsar, Primera, Presea, etc., so they were able to tune the new Silvia in such a short period of time. Its height and speed are astonishing.

The test car was equipped with a boost pressure controller, and since the test ride was limited to public roads, the boost pressure was set to about 0.6kg/cm. By the way (I'm embarrassed to show my ignorance), in this kind of tuning, the scramble control (the function to temporarily increase the boost pressure and overcharge) is cut to protect the engine. Say it. In other words, it is running with a lower boost pressure than the original SR20DET.

However, it is. Despite this, the power/torque you feel is far superior to normal. What impressed me most was

Less in the 2000~3000rpm range

Ponce's naturalness. It's almost like it's a 3L NA engine. Nothing makes the driver happier than the direct feeling of the engine reacting to every mm of movement of the right foot. Even in a slow-moving traffic jam, you can feel a sense of unity with the car, so you should know what lies ahead.

The torque feeling as if you were manipulating the engine, and the linear characteristics with respect to the accelerator, this is the target.

From a high gear with low revs, where the load is low, suddenly, I try to open the throttle all the way. Far from not happening, even in a situation like this where even a normal engine would falter for a moment, Mines Silvia quickly recovered and responded.

What flexibility! We didn't just pursue maximum power and torque. Hats off to the precision of the tuning. No, really, Rom tune is amazing, I've renewed my recognition.

Driving on winding roads was an exciting experience. In terms of maneuverability, the balance of the chassis naturally becomes an issue. The test car was set up with Mine's original suspension kit "ESTA" and a strut tower bar.

BS Potenza REN 225/45ZR16 is installed on the front and rear wheels.

In fact, the circuit test was scheduled for the next day, so the setting was a little hard for public road use. On public roads, which are more slippery than on circuits, I thought that lowering the roll rigidity would increase traction and make it easier to control. Most of all, the ride quality is damping-effective and makes you feel tight and supple, so drivers who consider themselves to be hardliners may not be dissatisfied.

The only thing that hindered the feeling of blowing up to the top end without a sense of stalling and the good controllability of direct response to the accelerator was the characteristics of the LSD. Since the car has such a neat finish, it is no longer responsive.

Viscous LSD with a strong delay is insufficient. The control will be more severe, but I feel that an LSD with good response is desired in order to take advantage of the good response of the engine.

By the way, it can be said that ROM Tune has gained popularity as a new tuning method, but there is a risk that an error in writing just one point out of tens of thousands of pieces of data can cause the engine to go bad. It is also true that it is a double-edged sword. However, rather than the ability to analyze the data and the rewrite operation itself, the question is how to make it as a car.

President Niikura, who is the brain of Mine's, says that the ability to set things up will ultimately be tested.

Making full use of the experience, trial and error, and accumulated know-how as a pioneer, the confidence and responsibility for manipulating vast amounts of data is the “guarantee card” attached to Mine’s computers. , appearing in golden black.

A factory that creates the dreams of car lovers, I think that's the kind of place Mine's is.

#Mine’s Silvia #Mine’s #S13 Silvia #Nissan Silvia #JDM #SR20DET

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jq37 · 2 months

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Descendants: The Rise of Red is kind of a bizarre movie to talk about critically because, imo, it almost doesn't make sense to talk about it in the usual terms of good vs bad or enjoyable vs not enjoyable when the way more obvious tension is finished vs unfinished.

Because, more than any other movie I've ever seen, it does *not* read as a full movie. And I don't mean in a "this movie has a cliffhanger" kind of way. The Empire Strikes Back and Across the Spiderverse fit that description. They end on big dramatic cliffhangers that point to a resolution in the third installment.

But Rise of Red just sets all this stuff up and then...ends without concluding anything. It doesn't feel like the first movie in a trilogy (or duology). It feels like the first act of a two-act musical. It very specifically reminds me of the end of the first act of Into the Woods where all the main characters sing the song Ever After about how they all fixed their problems with magic and nothing bad will ever happen to them again and then the narrator ominously says "To be continued" before the curtain drops. But in Into the Woods you know there's a second act and this movie wasn't sold as the first act of a bigger story. Like sure, it has the, "You didn't think this was the end" tag at the end like all the other movies, but those movies were complete, self-contained stories even though they had sequels. This was NOT a full story. It's half of one story.

Like, if we're supposed to take this as a full story, there are so many bizarre choices:

Why did they make sure to mention that Cinderella and Charming fell in love at the ball at the top if it wasn't meant to set up Back to the Future style, "Oh no, I accidentally got my mom banned from the ball so she's not gonna fall in love with Dad and I won't be born" shenanigans?

Why did Maddox very pointedly have that bit about "you could lose your mom completely" if that was never going to come into play? Red never did anything to endanger Bridget or endanger her own birth so it doesn't make sense as a warning in that way.

Why was there all this focus on this Carrie on prom night moment for Bridget if we LITERALLY NEVER SAW CASTLECOMING? Why dance around this moment and talk about it all cloak and dagger with no specificity if they weren't building up to some big reveal that it wasn't as straightforward as it seemed? And like, they leaned in HARD with making Bridget the nicest, sweetest, cotton candy princess as a teen so I need WAY more than, "She got pranked by known bullies she's been enduring with a smile very handily up to this point" to buy that she went from that to "murderous dictator". And even if she did become murderous, I find it insanely hard to believe that she'd include her best and only friend on the list of people she wants to suffer unless there was a betrayal. I find it INSANE that there wasn't a falling out scene at any point in this movie with how thickly they were laying on the admiration and camaraderie.

(Note: And adult Cinderella def has guilty vibes re: the Queen at orientation. Which I know I'm not imagining because it's literally spelled out in the Jr Novelization!)

Before the time travel element of the movie started, I thought they were going for something like they go to the past and realize that Bridget was bullied not by the VKs but by the spoiled royals, and Ella ends up joining in the bullying once she gets with Charming, betraying Bridget and justifying her whole "Love Ain't It" philosophy. Or Ella ditching her at the last minute to be with Charming meaning she has to deal with the monster prank alone and it was the being alone rather than the prank itself that hurt her (though that is NOT a good enough reason to go all off with their heads on your subjects). The fact that, as far as we know right now, it literally was just a relatively mild and reversible prank that caused all of this is just, such flat storytelling, you know?

But! All of this makes way more sense if this is meant to be the first act of a single contained story. And I don't wanna be all "Pepe Silvia, secret good 4th episode of Sherlock" about this but I did see this picture:

Which seems to indicate that this was written as a Part One. Which, if so, idk why they wouldn't advertise it that way but whatever. The point is, if that's the case then it means that we're potentially in bad pacing territory rather than straight up bad storytelling territory. Because this isn't a bad place to be halfway through your story:

The heroes, warned that time travel is dangerous, have gone back in time to change the heart of a brutal tyrant before she can stage a coup. They seemingly succeed in their mission and when they come home, everything is great! But then, the side effects of time travel start to catch up with them. Chloe realizes that, in breaking the vase, she prevented her mother from going to the ball and falling in love with her dad (who was conspicuously absent from the final scene btw) which means she's starting to be forgotten and erased from the timeline. And Red realizes that though this new version of her mom is as sweet and kind as the teen she once met, she's a complete stranger to her (fulfilling the Hatter's warning that she could lose her mom completely). So they have to go back in time once more to make sure the Ella and Charming fall in love again, perhaps at the cost of whatever bad thing that happened to Bridget happening again and bringing back the original version of her future self. But, now with more context of how her mom became that way, Red can now talk to her mother and persuade her to give people another chance.

Boom, that gives us time to go back and hit everything we haven't yet hit. We can pay off the time travel tropes that were set up but not explored. We can go to Castlecoming which feels so obviously set up to be the centerpiece of this story (like, come on, Back to the Future literally does the school dance thing. This is Time Travel Storytelling 101). We can actually get info about what the prank was and why it affected Bridget so completely.

(Note: This is a side thing but it really strikes me as so crazy that Bridget would so SUCH a big 180 here. Like, I know the Queen of Hearts is a silly, goofy, campy villain, but she straight up murders people and there's no way to get around that if we're taking her out of the surreal story she comes from and putting her in a (comparatively) grounded story. If I wasn't doing a betrayal plot, I would make the twist that the spell that turned Bridget into a "monster" didn't just have a physical effect, it had a mental effect and it magically twisted her personality to be the way it is now. So they broke the physical half of the curse, but neglected the other half and it's been festering the whole time, turning her as evil as she was sweet. Because like, a simple physical transformation isn't that big of a deal to have such heavy security--Bridget made cupcakes with a transformative effect and that was totally fine. I'm not saying that that's what's gonna be the case. I just think it would be an explanation that makes sense for why she changed so crazy much that makes more sense than a simple prank or even a betrayal. Her mom wasn't even evil! How did she go from zero to murder without even an evil mom to push her onto the path? But I'm super digressing right now.)

(Note #2: OK, one last thing. The trap on the book presumably would have hit the VK's and trapped them in Merlin's office regardless of what Chloe and Red did, right? That's like, net zero influence on the timeline. I genuinely can't tell if that's a straight up plot hole or set up to be like, "Oh no. Actually when she said that she was turned into a monster in front of everyone it was meant in a less literal way." Like she was just made to look bad and that was the real thing that pushed her over the edge. Like idk. It really feels like the only thing they really did that would change the timeline was get Ella banned from the dance and presumably out of the way where she couldn't hurt Bridget. OK NOW I'm done.)

Anyway, my point is that this is not how I would have structured my movie and I think this was a super weird way to go into the second era of Descendants movies, but they can still tell a complete story if that's their plan. I'm genuinely really curious to see if this pans out to be a fairly competently told story that just happens to be split over two movies or a complete fumbling of the narrative bag because it could really be either at this point and it's fascinating to me.