#datedness

[mcmansionhell]

the motel room, or: on datedness

I.

Often I find myself nostalgic for things that haven't disappeared yet. This feeling is enhanced by the strange conviction that once I stop looking at these things, I will never see them again, that I am living in the last moment of looking. This is sense is strongest for me in the interiors of buildings perhaps because, like items of clothing, they are of a fashionable nature, in other words, more impermanent than they probably should be.

As I get older, to stumble on something truly dated, once a drag, is now a gift. After over a decade of real estate aggregation and the havoc it's wreaked on how we as a society perceive and decorate houses, if you're going to Zillow to search for the dated (which used to be like shooting fish in a barrel), you'll be searching aimlessly, for hours, to increasingly no avail, even with all the filters engaged. (The only way to get around this is locational knowledge of datedness gleaned from the real world.) If you try to find images of the dated elsewhere on the internet, you will find that the search is not intuitive. In this day and age, you cannot simply Google "80s hotel room" anymore, what with the disintegration of the search engine ecosystem and the AI generated nonsense and the algorithmic preference for something popular (the same specific images collected over and over again on social media), recent, and usually a derivative of the original search query (in this case, finding material along the lines of r/nostalgia or the Backrooms.)

To find what one is looking for online, one must game the search engine with filters that only show content predating 2021, or, even better, use existing resources (or those previously discovered) both online and in print. In the physical world of interiors, to find what one is looking for one must also now lurk around obscure places, and often outside the realm of the domestic which is so beholden to and cursed by the churn of fashion and the logic of speculation. Our open world is rapidly closing, while, paradoxically, remaining ostensibly open. It's true, I can open Zillow. I can still search. In the curated, aggregated realm, it is becoming harder and harder to find, and ultimately, to look.

But what if, despite all these changes, datedness was never really searchable? This is a strange symmetry, one could say an obscurity, between interiors and online. It is perhaps unintentional, and it lurks in the places where searching doesn't work, one because no one is searching there, or two, because an aesthetic, for all our cataloguing, curation, aggregation, hoarding, is not inherently indexable and even if it was, there are vasts swaths of the internet and the world that are not categorized via certain - or any - parameters. The internet curator's job is to find them and aggregate them, but it becomes harder and harder to do. They can only be stumbled upon or known in an outside, offline, historical or situational way. If to index, to aggregate, is, or at least was for the last 30 years, to profit (whether monetarily or in likes), then to be dated, in many respects, is the aesthetic manifestation of barely breaking even. Of not starting, preserving, or reinventing but just doing a job.

We see this online as well. While the old-web Geocities look and later Blingee MySpace-era swag have become aestheticized and fetishized, a kind of naive art for a naive time, a great many old websites have not received the same treatment. These are no less naive but they are harder to repackage or commodify because they are simple and boring. They are not "core" enough.

As with interiors, web datedness can be found in part or as a whole. For example, sites like Imgur or Reddit are not in and of themselves dated but they are full of remnants, of 15-year old posts and their "you, sir, have won the internet" vernacular that certainly are. Other websites are dated because they were made a long time ago by and for a clientele that doesn't have a need or the skill to update (we see this often with Web 2.0 e-commerce sites that figured out how to do a basic mobile page and reckoned it was enough). The next language of datedness, like the all-white landlord-special interior, is the default, clean Squarespace restaurant page, a landing space that's the digital equivalent of a flyer, rarely gleaned unless someone needs a menu, has a food allergy or if information about the place is not available immediately from Google Maps. I say this only to maintain that there is a continuity in practices between the on- and off-line world beyond what we would immediately assume, and that we cannot blame everything on algorithms.

But now you may ask, what is, exactly, datedness? Having spent two days in a distinctly dated hotel room, I've decided to sit in utter boredom with the numinous past and try and pin it down.

II.

I am in an obscure place. I am in Saint-Georges, Quebec, Canada, on assignment. I am staying at a specific motel, the Voyageur. By my estimation the hotel was originally built in the late seventies and I'd be shocked if it was older than 1989. The hotel exterior was remodeled sometime in the 2000s with EIFS cladding and beige paint. Above is a picture of my room, which, forgive me, is in the process of being inhabited. American (and to a lesser extent Canadian) hotel rooms are some of the most churned through, renovated spaces in the world, and it's pretty rare, unless you're staying in either very small towns or are forced by economic necessity to stay at real holes in the wall, to find ones from this era. The last real hitter for me was a 90s Day's Inn in the meme-famous Breezewood, PA during the pandemic.

At first my reaction to seeing the room was cautionary. It was the last room in town, and certainly compared to other options, probably not the world's first choice. However, after staying in real, genuine European shitholes covering professional cycling I've become a class-A connoisseur of bad rooms. This one was definitively three stars. A mutter of "okay time to do a quick look through." But upon further inspection (post-bedbug paranoia) I came to the realization that maybe the always-new brainrot I'd been so critical of had seeped a teeny bit into my own subconscious and here I was snubbing my nose at a blessing in disguise. The room is not a bad room, nor is it unclean. It's just old. It's dated. We are sentimental about interiors like this now because they are disappearing, but they are for my parents what 2005 beige-core is for me and what 2010s greige will become for the generation after. When I'm writing about datedness, I'm writing in general using a previous era's examples because datedness, by its very nature, is a transitional status. Its end state is the mixed emotion of seeing things for what they are yet still appreciating them, expressed here.

Datedness is the period between vintage and contemporary. It is the sentiment between quotidian and subpar. It is uncurated and preserved only by way of inertia, not initiative. It gives us a specific feeling we don't necessarily like, one that is deliberately evoked in the media subcultures surrounding so-called "liminal" spaces: the fuguelike feeling of being spatially trapped in a time while our real time is passing. Datedness in the real world is not a curated experience, it is only what was. It is different from nostalgia because it is not deliberately remembered, yearned for or attached to sweetness. Instead, it is somehow annoying. It is like stumbling into the world of adults as a child, but now you're the adult and the child in you is disappointed. (The real child-you forgot a dull hotel room the moment something more interesting came along.) An image of my father puts his car keys on the table, looks around and says, "It'll do." We have an intolerance for datedness because it is the realization of what sufficed. Sufficiency in many ways implies lack.

However, for all its datedness, many, if not all, of the things in this room will never be seen again if the room is renovated. They will become unpurchaseable and extinct. Things like the bizarrely-patterned linoleum tile in the shower, the hose connecting to the specific faucet of the once-luxurious (or at least middling) jacuzzi tub whose jets haven't been exercised since the fall of the Berlin Wall. The wide berth of the tank on the toilet. There is nothing, really, worth saving about these things. Even the most sentimental among us wouldn't dare argue that the items and finishes in this room are particularly important from a design or historical standpoint. Not everything old has a patina. They're too cheaply made to salvage. Plastic tile. Bowed plywood. The image-artifacts of these rooms, gussied up for Booking dot com, will also, inevitably disappear, relegated to the dustheap of web caches and comments that say "it was ok kinda expensive but close to twon (sic)." You wouldn't be able to find them anyway unless you were looking for a room.

One does, of course, recognize a little bit of design in what's here. Signifiers of an era. The wood-veneer of the late 70s giving way to the pastel overtones of the 80s. Perhaps even a slow 90s. The all-in-one vanity floating above the floor, a modernist basement bathroom hallmark. White walls as a sign of cleanliness. Gestures, in the curved lines of the nightstands, towards postmodernity. Metallic lamp bases with wide-brimmed shades, a whisper of glamor. A kind of scalloped aura to the club chairs. The color teal mediated through hundreds if not thousands of shoes. Yellowing plastic, including the strips of "molding" that visually tie floor to wall. These are remnants (or are they intuitions?) of so many movements and micromovements, none of them definite enough to point to the influence of a single designer, hell, even of a single decade, just strands of past-ness accumulated into one thread, which is cheapness. Continuity exists in the materials only because everything was purchased as a set from a wholesale catalog.

In some way a hotel is supposed to be placeless. Anonymous. Everything tries to be that way now, even houses. Perhaps because we don't like the way we spy on ourselves and lease our images out to the world so we crave the specificity of hotel anonymity, of someplace we move through on our way to bigger, better or at least different things. The hotel was designed to be frictionless but because it is in a little town, it sees little use and because it sees little use, there are elements that can last far longer than they were intended and which inadvertently cause friction. (The janky door unlocks with a key. The shower hose keeps coming out of the faucet. It's deeply annoying.)

Lack of wear and lack of funds only keep them that way. Not even the paper goods of the eighties have been exhausted yet. Datedness is not a choice but an inevitability. Because it is not a choice, it is not advertised except in a utilitarian sense. It is kept subtle on the hotel websites, out of shame. Because it does not subscribe to an advertiser's economy of the now, of the curated type rather than the "here is my service" type, it disappears into the folds of the earth and cannot be searched for in the way "design" can. It can only be discovered by accident.

When I look at all of these objects and things, I do so knowing I will never see them again, at least not all here together like this, as a cohesive whole assembled for a specific purpose. I don't think I'll ever have reason to come back to this town or this place, which has given me an unexpected experience of being peevish in my father's time. Whenever I end up in a place like this, where all is as it was, I get the sense that it will take a very long time for others to experience this sensation again with the things my generation has made. The machinations of fashion work rapaciously to make sure that nothing is ever old, not people, not rooms, not items, not furniture, not fabrics, not even design, that old matron who loves to wax poetic about futurity and timelessness. The plastic-veneered particleboard used here is now the bedrock of countless landfills. Eventually it will become the chemical-laced soil upon which we build our condos. It is possible that we are standing now at the very last frontier of our prior datedness. The next one has not yet elided. It's a special place. Spend a night. Take pictures.

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[thatscarletflycatcher]

Every year that passes The Lizzie Bennet Diaries ages more and more poorly in my mind while most people seem to like it as much as when it came out, like some sort of very personal Portrait of Dorian Gray.

[number-one-toku-robot-lover]

everything I learn about Stronger convinces me that upon reaching it I will feel like a peasant being handed a some form of religious text in the 1890’s

Well, it will certainly make you feel some kind of way! I hope you have as much fun with it as I did :)

Do it for them!

[lastavenged]

KAREN + ADDICITION + SOBRIETY

I am probably gonna rewrite this post and go more specific with details for both 616 & mcu verses, but in general for both settings and Karens, and kind of wanna grab some panels and quotes from Karen about this topic.

Since one of things to kind of note first, is the like the wikis, the comics, and the show (and the show I even think s1 and s2 they didn't even plan or intend to cover her addiction which maybe wasn't necessary but has the effect of being like the comics) all act as though and treat this as something she was "cured" of which to be clear, is not a thing. There is no cure, there is recovering and battling and it's always something that she'd have been, and something that yes she could be sober and clean for years without any issue but that doesn't essentially equate to cured and.... that's a nuance that isn't really covered with Karen.

Anyways, as this stands experiences during the pit of her addiction include. Being suicidal, especially so in the comics, where she contemplates an attempt and walking out of a high story window. And it is something that she really felt amd said thar she lost her soul, sold it is specifically her words in the comics as she does sell daredevils identity for one fix. Karen's experienced homelessness as well doing the pit of addiction problems, this is another thing shown in the comics. Physical assault and implied sa as well. There's a lot of experiences from this time of her life that stick with her.

Now onto more the point of this post, and in the comics they do show, at least to some extent, her detoxing and becoming clean and sober. It's an uphill battle for her, and in general you can assume for her portrayal. That she does attend meetings some evenings, and we do at least in comics and in both novels, that her own addiction and associated demons, specifically lead her to wanting to be an advocate as well as specifically focus on helping people who are struggling with addiction themselves as well as those struggling with suicidal thoughts.

Now here is my own gripe with the show, is that none of this gets presented as part of Karen's character, until season 3 which kind of shoots karen a little in the foot, and it does kind of act as a bottle episode and gloss over that drinking was a larger issue for this karen; and kind of treats her addiction as cured, that's it.

Anyways, that is going go be more apparent here, as one of things she does is still attend meetings, she does work with support groups and volunteer opportunities, such as specifically like in the comics she opens a drug and suicide hotline that's paried with matt's free legal advice clinics.

In general, Karen is clean and mostly sober; as heroin was her specific fix. she only takes very specific medications and painkillers, if she were hospitalized she specifically requests not to be given morphine, and as for drinking, she keeps a social only two glass moderation with herself, so she can be tipsy and giggly, but mostly still has her wits, will remember the evening, and won't be hungover the next day. She additionally smoked cigarettes, nicotine, which in the comics there is an implied point in which she quits smoking as well, but picks it back up again (trial of karen in the comics; matt makes a note of that when he sees her again). It's to be noted that she does not originally quit cigarettes when first going sober/clean.

So all of that is being brought to both 616 and mcu, specifically bringing into mcu, is all of that. Specifically what sobriety/being clean looks like for Karen, and how it is quite important for her to help others of similar struggles to her own, and in general, relapse is a much trickier idea for how that applies to Karen given all of what factors into her "vices" for both 616 and mcu; I do not see a total relapse or relapse with specific drugs happening for her, but picking up smoking cigarettes again may be something that has evidently happened at least in 616, and maybe possibly mcu with smoking; since my mcu karen is in line of 616 on that, and mcu with drinking.

But in general, the point and idea, is that one of Karen's pillars is aa meetings or various support groups that she attends for herself, as well as working toward helping those of similar struggles and being an advocate on that, and having generally a sharper and kinder understanding on that. Being some volunteer work here and there and speaking out about these kinds of problems, more than what is present in the mcu and such considering that is a focus on her karen in 616 post born again (now some of that is somewhat dated in its treatment given the 80s war on drugs and porn; but you get the idea).

[loopscereal]

its the desd if night and i drew myself the tackiest ship art imaginable for my fav two

it feels so embarrasing being into a ship thats incredibly dated and wattpad and “i guess theyre shipping anyone” esq when you werent there for it. i have no experience, i have no nostalgia, i have no excuse…

theyre tacky and theyre mine goddamn it….

[mooglestiltzkin]

… wait nagisa naoki is trans? explicitly stated as such???

i mean. i guess??? certainly seemed more accepting of the dad’s desire to have a daughter, unlike ryunosuke.

i think in the introductory chapter i would have assumed okama tbh, but. yeah, okay, gender fuckery and spectrums, if that’s what the UY cast have decided, then sure.

[whyeverr]

Red Brick Ranch

This right here is my childhood Christmas: a wood paneling, artificial tree, opening presents on shaggy carpeted floors kind of Christmas. This particular simple ranch home isn't based on either of my grandparents' homes, but it might as well be. I've made divinity in that kitchen. I've watched the snow fall out that picture window.

Ranch homes get a lot of slack for their datedness and lack of character. But I'm here to defend them, especially at Christmas. In fact I almost called this one Rudolph the Red-Nosed Ranch, but that felt a little too on the nose. They might not be anyone's Pinterest-perfect dream home, but as home ownership becomes more and more unobtainable, a simple ranch starter home might just be your dream come true. That goes double for disabled folks, or older folks aging in place, as their single-story floor plan makes them one of the most accessible types of homes available!

This home might be perfect for: a single mom who works two jobs, grandparents (mine, specifically, but also maybe your sim's?), sims that use mobility aids, in your story or in actual gameplay, should we ever get such a thing, or developers looking to paint some brick, slap down millennial gray laminate floors, and flip this bad boy...

Lot details:

Lot Type: Residential (3 bed, 2 bath)

Price: §33,470

Size: 40x30

Location: Miner Mansion, Evergreen Harbor

I’ve used from all packs freely here. As always, no CC!

Download links and floor plans below the cut 🎄

Download via the Sims 4 Gallery or tray files via Sim File Share. You’re free to do whatever you want with the place but please don’t re-upload or share without credit. Thank you!

[wifegideonnav]

why did we stop writing group chat fics. they were poorly thought out, no plot just vibes, entirely ooc in ways previously thought unattainable, plagued with endless formatting issues on every level, stupid, often way longer than you could ever imagine them running, so reliant on current memes and slang that they were doomed to cringy datedness from the second they were posted, and a complete waste of time to both write and read. and. i miss them.

[artbyblastweave]

On another note It’s interesting to think about the gray area of Bronze Age Marvel where "comic book time" was only barely starting to be necessary. Spider-Man aged in real time for a while, through high school and then out of college. When the All-New -All-Different X-Men debuted, the members of the original lineup who stuck around were mentioned to be.... about as old as they'd have been if they'd been aging in real time from their first debut, maybe with a little compression? Ten to twelve years or so, which roughly works- 1963 to 1975. In issue 97, set in what I think is supposed to be December of 1975, Jean Grey mentions last having fought the Sentinels in 1969- it would eventually become extremely rare for them to nail their own asses down with a specific date like that. This leads to an interesting thing early in Claremont's run, I'm talking really early, like Banshee is still a full-time member of the team early- there was one arc where the ANAD lineup, from an outside perspective, just drops off the face of the earth for a year. They get brainwashed and abducted and put in a carnival, then Magneto abducts them from there and drags them to a facility in Antarctica, and then they get stuck in the Savage Land for a few months, and then they get waylaid and stuck in Japan when their boat crashes and then they have to deal with a bunch of bullshit in Japan before they can finagle a way back to the States. By the time they get back they're all missing persons cases and the Professor thinks that they were killed.

This arc is fascinating to me because it was told more-or-less in real time, taking the better part of a year with the monthly releases, and apparently taking the same amount of time in-universe. Moreover it's a storyline that's incredibly dependent on the political and technological situation in the late 70s when it was being published. It's a conflict that vanishes the second they get to Japan if the internet exists, if cell-phones exist, if 24 hour news cycles exist. (To say nothing of the datedness of the now-rarely deployed supervillain Moses Magnum.) But it's still technically in continuity, unless someone's said something to the contrary that I missed. It's still the arc where Banshee got permanently benched from the A-list X-Men Roster due to blowing out his vocal cords countering a Japan-wrecking Earthquake machine. They still spent like a year dealing with all that bullshit. One year out of the supposed 15 or 20 that they've all been at this- and it has to be roughly in the middle, to accommodate the veteran hero status of the O5 team members that were involved. That was actually a reasonable time allocation when this came out, when the setting was still pushing forward from the outer edges of realtime. It's so much weirder now.

[gtunesmiff]

Vonnegut’s 8 rules for writing with style:

1. Find a subject you care about

Find a subject you care about and which you in your heart feel others should care about.  It is this genuine caring, and not your games with language, which will be the most compelling and seductive element in your style. I am not urging you to write a novel, by the way - although 1 would not be sorry if you wrote one, provided you genuinely cared about something. A petition to the mayor about a pothole in front of your house or a love letter to the girl next door will do.

2. Do not ramble, though

I won't ramble on about that.

3. Keep it simple

As for your use of language: Remember that two great masters of language, William Shakespeare and James Joyce, wrote sentences which were almost childlike when their subjects were most profound.  ‘To be or not to be?’ asks Shakespeare’s Hamlet. The longest word is three letters long. Joyce, when he was frisky, could put together a sentence as intricate and as glittering as a necklace for Cleopatra, but my favorite sentence in his short story ‘Eveline’ is just this one: ‘She was tired.’ At that point in the story, no other words could break the heart of a reader as those three words do. Simplicity of language is not only reputable, but perhaps even sacred. The Bible opens with a sentence well within the writing skills of a lively fourteen-year-old: ‘In the beginning God created the heaven and earth.’

4. Have the guts to cut

It may be that you, too, are capable of making necklaces for Cleopatra, so to speak. But your eloquence should be the servant of the ideas in your head. Your rule might be this: If a sentence, no matter how excellent, does not illuminate your subject in some new and useful way, scratch it out.

5. Sound like yourself

The writing style which is most natural for you is bound to echo the speech you heard when a child.  English was the novelist Joseph Conrad’s third language, and much that seems piquant in his use of English was no doubt colored by his first language, which was Polish. And lucky indeed is the writer who has grown up in Ireland, for the English spoken there is so amusing and musical. I myself grew up in Indianapolis, where common speech sounds like a band saw cutting galvanized tin, and employs a vocabulary as unornamental as a monkey wrench. All these varieties of speech are beautiful, just as the varieties of butterflies are beautiful. No matter what your first language, you should treasure it all your life. If it happens not to be standard English, and it shows itself when you write standard English, the result is usually delightful, like a very pretty girl with one eye that is green and one that is blue. I myself find that I trust my own writing most, and others seem to trust it most, too, when I sound most like a person from Indianapolis, which is what I am. What alternatives do I have? The one most vehemently recommended by teachers has no doubt been pressed on you, as well: to write like cultivated Englishmen of a century or more ago.

6. Say what you mean to say

I used to be exasperated by such teachers, but am no more. I understand now that all those antique essays and stories with which I was to compare my own work were not magnificent for their datedness or foreignness, but for saying precisely what their authors meant them to say. My teachers wished me to write accurately, always selecting the most effective words, and relating the words to one another unambiguously, rigidly, like parts of a machine. The teachers did not want to turn me into an Englishman after all. They hoped that I would become understandable — and therefore understood. And there went my dream of doing with words what Pablo Picasso did with paint or what any number of jazz idols did with music. If I broke all the rules of punctuation, had words mean whatever I wanted them to mean, and strung them together higgledly-piggledy, I would simply not be understood. So you, too, had better avoid Picasso-style or jazz-style writing if you have something worth saying and wish to be understood. Readers want our pages to look very much like pages they have seen before. Why? This is because they themselves have a tough job to do, and they need all the help they can get from us.

7. Pity the readers

Readers have to identify thousands of little marks on paper, and make sense of them immediately. They have to read, an art so difficult that most people don’t really master it even after having studied it all through grade school and high school — twelve long years. So this discussion must finally acknowledge that our stylistic options as writers are neither numerous nor glamorous, since our readers are bound to be such imperfect artists.  Our audience requires us to be sympathetic and patient teachers, ever willing to simplify and clarify, whereas we would rather soar high above the crowd, singing like nightingales.

8. For really detailed advice… go read The Elements of Style

For a discussion of literary style in a narrower sense, a more technical sense, I commend to your attention The Elements of Style, by Strunk, Jr., and E. B. White. E. B.

~ from How to write with style: 8 non-obvious insights from the master of personality || Nathan Baugh

[randomly--accessed--memories]

I talk a lot about how Alastor isn’t satisfied by what he made Vox into, but that’s actually more of a mid-/late-game development. For a while, he derives quite a bit of enjoyment from what he’s done to Vox, at least until the novelty starts to wear off. His favorite methods of torment include:

Purposely giving Vox incorrect or upsetting information, just to see what he’ll do.

Forcing interactions between Vox and Husk or Angel.

Dangling Vox over the Vees heads, reminding them of how helpless they are in this situation and how Vox has no desire to ever see them again.

Maneuvering Vox into semi-public situations and watching him “humiliate” himself.

Watching Vox happily eschew modern culture and embrace out-datedness, as well as commanding him to do menial labor that Vox used to see as beneath him.

Following Vox around, both openly and covertly, and watching him struggle with basic tasks.

Reveling in the total control he has over Vox and how he’ll instantly, eagerly agree to whatever Alastor says, even if it’s against his own best interest or personal preference.

[wonderfulworldofmichaelford]

This is a masterpiece. The romance is amazing, the performances are all top notch, the way this effortlessly juggles genres without it feeling forced… my only real complaint is a few of the effects are a bit dated, and I still think they manage to be charming in their datedness. Easily one of Swayze’s best roles, Demi Moore should’ve gotten a nom for this, and goddamn was Whoopi Goldberg fantastic.

[hirocimacruiser]

Mazda Familia GT-R review

Mazda Familia/GT-R

This is Mazda's cash cow Familia's WRC entry machine!

This Familia GT-R is also a rally model. By distributing the driving force unevenly between the front and rear, it has eliminated the disadvantage of 4WD vehicles when driving around curves. Of course, it also ensures practicality as a compact two-box vehicle at an above-average level.

Vehicle configuration

-What is the positioning of this car?

Positioned as Familia's top-of-the-line car

Familia is a popular car that has established a solid market share. The GT-R is the top-of-the-line model. The GT-R is a sports car developed from Familia with the aim of participating in rally races. It is difficult to demonstrate technical features in this class, but Mazda is asserting the uniqueness of the GT-R by equipping it with a full-time 4WD system exclusive to the GT-R.

Naturally, the GT-R is only available with one engine: the 1800cc inline 4-cylinder DOHC turbo, which produces a maximum output of 180 horsepower in the GT-X but increased to 210 in the GT-R. The body is only available as a 3-door hatchback.

Equipment & Mecha

Here are the noteworthy equipment and mechanisms!

Improved driving performance by changing torque distribution between front and rear wheels

In addition to the GT-R, the Familia also has other full-time 4WD models available, but Mazda classifies the GT-R and GT-X as sports 4WDs, and the other 4WD models as lifestyle 4WDs.

Naturally, the full-time 4WD system used in the GT-R is different from other 4WD vehicles, and mechanically it has a center differential with a viscous coupling-type LSD which distributes driving force unevenly between the front and rear wheels at 43:57.

The engine is a 1800cc inline 4-cylinder DOHC 16-valve turbocharged engine with a horsepower output of 210. The figures may seem a little ordinary, but when you use it to its full potential, it still feels thrilling to drive.

The appeal of 4WD driving!

The compact body and crisp driving are appealing

The uneven torque distribution of 45:57 between the front and rear is exactly the same as that used by Lancia, the multiple-time rally champion, in its Delta. The main advantage of this is that it makes it easier for the car to turn around curves, and this is also evident in the Familia GT-R.

In any case, the Familia GT-R shows a finish that doesn't make you feel any datedness when it first debuted when it comes to its movement around curves. There is no impression that it has any particularly advanced mechanisms, but when you turn the steering wheel, the car changes direction instantly and faithfully.

This feeling of being able to ride a bike is likely to be hard to give up for those who are still strongly sport-oriented.

The DOHC 16 valve + turbo engine also shows easy-to-handle characteristics. As expected, the feeling at low revolutions is a little inferior compared to the turbo engines that have appeared in the past few years, but the powerful feeling after the turbo starts to work is very stimulating.

The compact body, powerful engine, and full-time 4WD system, which is no longer innovative but delivers an outstanding driving experience, all of these elements come together perfectly to give the Familia GT-R a performance that still feels like it can compete at the front line.

PIC CAPTIONS

→The engine's distinctive feature is that it runs smoothly up to high speeds.

←1800 DOHC turbo that delivers a maximum output of 215 horsepower.

Check the room!

The interior design shows signs of age.

The age of the design is most evident in the interior. The design around the instrument panel, which skillfully combines straight lines and curves, certainly left a sophisticated impression when it was first released, but unfortunately it is difficult to be satisfied with it today, both in terms of design and texture.

The comfort around the rear seats is not particularly satisfactory, not only in this GT-R, but in all Familia cars.

PIC CAPTIONS

→Design aside, the instrument panel is highly practical.

↑The driver's seat is firm and comfortable, so you won't get tired easily.

rival

This is the rival car in terms of driving!!!!!

The company is losing ground to new rivals.

The Lancer and other models are the first cars that should be mentioned as rivals, but the differences in design are obvious. The Familia GT-R's driving is certainly sporty enough to stir the spirit of sport, but it can no longer compete with the Lancer in terms of ultimate punch, and it also cannot compete with the Familia in terms of quietness and vibration.

The GT-R's DOHC turbo engine is far ahead of the competition.

Even though it is a full-time 4WD system, the Familia GT-R's center differential system gives a rough driving feel when compared to the many sports 4WD cars currently on the market. The car's greatest appeal was its crisp and natural handling on curves, but the reason for this is that so many sports 4WDs that surpassed it have appeared in a short period of time. Unfortunately, when trying to enjoy serious sports driving, there are many dissatisfaction points with the body rigidity and suspension design. With the Familia itself due for a full model change soon, it seems a bit harsh to ask for such things, but it is a shame that the car's basic design was not fully developed.

PIC CAPTIONS

↑Compared to newer cars like the Lancer, the age of the design is obvious overall.

[soelvfisk]

Jeg frygter at blive stille igen. Talte med ven for første gang meget meget længe. Halvandet år. Bare det at nogen skulle høre min stemme føltes grænseoverskridende, selvom vi vitterligt har haft en hel hverdag sammen engang. Vi talte meget om Ven. Sådan er jeg stadig tryggest. Mit liv er jo bare mad og søvn. Indtil ven spurgte ind til Stenen. Ven kender Stenen. De datede engang. Meget kort. Ven ville høre hvad der skete. Jeg fortalte om det. Og så mærkede jeg det. Vens skepsis. At sådan kunne Stenen ik ha opført sig. At ven fortalte om Stenens SoMe som et spirituelt safespace. At ven forsøgte at “forklare” det. Som om at nogle gange er man bare to mennesker der ikke er compatible som venner, selvom man troede det. Men nej, ven. Jeg har ikke været ved psykiater i over et år, fordi mig og Stenen ikke var “compatible”. Det var ikke et passivt clash der skete. Sidder lige nu med følelsen af, at jeg hellere vil tie stille end at sige noget igen. Jeg vil hellere være isoleret end åben. Jeg vil hellere gemme mig end at skabe og dele. Jeg vil hellere glemmes end at huskes. Jeg vil hellere forstå mig selv i stilhed, end konfronteres med folk der er uforstående. Det gør ondt. Jeg kan ikke overskue de her konfrontationer, hvor det der skete gør, at jeg mister folk jeg holder af. Får bare lyst til at trække mig og ikke vide hvem eller hvor mange der har i sinde at gå. Vil leve så kedeligt og stabilt et liv. Vil ikke være noget stort. Vil ikke fylde. Føler jeg er trist snegl, der forsegler åbning til sneglehus. Var lige ved at kravle ud i verden. Og så blev jeg prikket i mine følehorn eller noget. Og der skal ikke mere til, før jeg føler at det er umuligt nogensinde at få det som jeg havde det engang. Umuligt at blive ægte okay. Tager mentalt afsked med mine drømme, fordi jeg føler at jeg kun kan trives i et vakuum.

[bettyweir]

@bettycooperpics <- new account with a few posts in the queue!

Might make a side blog 2 post all the betty cooper fits I like since its Barely mbav related

[juney-blues]

the datedness of the 4:3 aspect ratio flat-screen computer monitor speaks to me