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Seeing the car for the first time, I can assure you that it
delivers a comprehensive assault on all your senses. It's easy for a car enthusiast
to be bowled over by its exquisite finish, the richness of its detailing,
or its sheer road presence. But as my day with the car wore on, I could not
help but feel that there was something that was unsettling me slightly.
Sifting through the cabin, the engine bay, and the unpainted carbon fiber
body, there was something about this car that was wholly unfamiliar to me.
The speedometer goes from 0 to an indicated 390km/h in a
strange, italicized serif font with nary a care for legibility. Lovely carbon
fiber speaker enclosures sited just behind the headrests are incongruously
capped in Clarion speaker grilles with chromed plastic logos. The incredibly
comfortable and beautifully detailed seats that took more than a year to develop
have a faint logo embroidered onto them that do not seem to appear anywhere
else on the car. (Further inspection reveals that the logo bears Horacio Pagani's
initials.) The air-conditioning controls have a curvaceous design flourish
that can best be described as notional.
Now, while these seem to be unbelievably trivial points in considering as
awesome a proposition as the Zonda, it got me interpreting the car in a new
light. Indeed, this car started to become an interesting counterpoint to something
that has been disturbing me about new cars in general, other supercars included.
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