Pay in installments of $403.64 with
,
and
Shipping Estimate
USA
- USA
- CAN
- USA
- CAN
Ships within 48 hours · Estimated delivery Jul 23 - Jul 28
Promo Codes Available:
For Your Every Summer RSVP, with Code: SUMMER15
Description
2023-2024 Colorado 2.5 RR CDCV Front Coilover Kit (ICO71670C)Drop in serious suspension performance on your 2023 2024 Colorado with ICON 2. 5 Series coilovers. Remote reservoirs keep temps down and damping consistent when you push hard. CDCV technology lets you dial in compression damping on the fly no tools needed. Features 20% increase in front wheel travel and improved ride quality over stock Vehicle specific tuned for superior shock damping and control Adjustable for 1. 75 2. 5" of front lift height over
Drop in serious suspension performance on your 2023-2024 Colorado with ICON 2.5 Series coilovers. Remote reservoirs keep temps down and damping consistent when you push hard. CDCV technology lets you dial in compression damping on the fly — no tools needed.
Features
- 20% increase in front wheel travel and improved ride quality over stock
- Vehicle specific tuned for superior shock damping and control
- Adjustable for 1.75-2.5" of front lift height over stock
- Remote reservoirs maintain cooler operating temperatures during extended off-road use
- ICON CDCV equipped for 10 settings of external compression damping adjustment
- ICON engineered coil springs
- Corrosion resistant CAD plated 2.5" diameter shock bodies
- 7/8" diameter hardened chrome plated shafts
- 6061 Aircraft grade aluminum CNC machined components
- PTFE lined spherical bearings for extended longevity and minimal deflection
- High strength alloy CNC machined lower bar pin and application specific mounting hardware
- Fully rebuildable and re-tunable
Wheel & Tire Recommendations
- 17x8.5" w/ 5.46" Backspace / 18mm Offset
- Tires: 35" x 12.50" (Larger Tires May Fit but Fender Trimming and Modifications will be Required)
Important Notes
- Shocks are fully serviceable. Lift heights indicated are for a stock equipped vehicle.
- ICON Delta Joint Pro upper control arms required
- Springs are rated for gasoline engines
- Only fits "Ultra-Wide Stance" vehicles
- Will not fit Chevrolet Colorado WT, LT, or Z71
- Chevrolet Colorado ZR2 and GMC Canyon AT4X will have front lift height range of .75"-1.5"
Manufacturer Description
ICON Vehicle Dynamics V.S. Series 2.5" coilover shocks are an incredible upgrade for the front-end of 2023-2024 GMC Canyon and 2023-2024 Chevrolet Colorado Trail Boss and Colorado ZR2 trucks. Their longer length offers a 20% increase in total front wheel travel compared to stock, for a total of 10.25" of front wheel travel. ICON’s Vehicle-specific valving provides a sport tuned feel on and off-road while 1.75-2.5" of lift height adjustability allows the use of larger, more aggressive wheel and tire combinations. The larger 2.5" diameter shock body and increased piston area over stock components provides improved damping ability and outstanding ride characteristics across varying types of terrain. Remote reservoirs greatly increase shock oil volume and heat dissipation surface area to resist overheating and cavitation under hard use, which can lead to damper fade. ICON's exclusive Compression Damping Control Valves are included for precisely dialing in your suspension performance. CDCV controls fluid flow under compression, allowing you to achieve the perfect tune whether driving on the street, slow-crawling through the rocks or mobbing across the desert at full throttle. When paired with ICON rear 2.0 Aluminum Series or 2.5 Series shocks vehicle control will be balanced front to rear, resulting in the best overall driving experience for your GMC Canyon or Chevrolet Colorado Trail Boss and ZR2.
Shipping Notes
- Free Standard Shipping on $100+ Orders to the USA.
- Except Preorder products are shipped in 48 hours.
- Delivery to the USA:
- Standard Shipping : 3-10 business days
- If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
- We offer a 30-day return/exchange service after receiving.
- Final sale items are not eligible for returns or exchanges.
- To process your return/exchange, please contact us at [email protected]
- Please click here for more details>>> Return & Exchange Policy
4.6 ★★★★★
Based on 11 reviews
Sort
Product Reviews
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 30, 2018
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful.
McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do.
However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies!
If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why.
McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism.
Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging.
With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else.
In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree.
But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on December 12, 2019
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 12, 2017
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 14, 2016