What do we mean when we talk about assemblies of steel, carbon and plastic in terms of “emotion”? Every craft has a very narrow dividing line between mere technical proficiency and creating something that’s greater than the sum of its parts, but few crafts enjoy a cadre of critics that are as obsessed with constantly defining this line as auto journalists. I suppose that after spending enough time driving and trying to evaluate cost-no-object luxury items the line may become more obvious, as skills are sharpened and observational powers are honed. But more than increasing the ability to define the line between mere “excellence” and “greatness” or “proficiency” and “emotion,” a career of supercar driving largely seems to reinforce the importance of simply having that line. After all, what’s more important to the reviewer of supercars: preventing some poor soul from squandering a quarter of a million dollars on the wrong supercar, or establishing their own exquisite taste? Here’s a hint: only one of these things keeps the gravy train rolling. So when you’ve got two similarly-performing supercars competing directly for the attentions of the well-heeled, few will actually care which laps what the fastest… and when the going gets tough, the tough get wobbling.
This is all well and good… after all, everyone wants to drive a Ferrari 458 and a McLaren MP4-12c, but nobody wants to go through the motions of justifying why you think one is fundamentally better or worse than the other. Besides, consumers are free to understand that one man’s “lack of emotion” is another man’s everyday usability… or “waste” their money on the car the journalist says he prefers. But when McLaren comes out and gives the latest mid-engined Ferrari a run for its money with its first roadvcar in over a decade only to be met with accusations of a “lack of emotion,” there’s no way a self-respecting sportscar firm would make a change to their baby. But that’s exactly what’s happening…









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