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The path of light leads you on superb journeys even after Sunset and with a little help from tall flora 6 Film Frames
The amount of light and wind was changing the landscape before me. The light was diminishing in illumination and expanding in tone. With some edits here are some samples of the wonders working their ways within my paths.
Tall Flora is not in every picture.
© PHH Sykes 2024
phhsykes@gmail.com
D9531 leads a nine-loco lash-up through Burrs with the 19.00 ex Bury during the 14's @ 50 gala on the East Lancs. For the record the loco's were; D9531, D9520, D9513, D9555, D9521, D9526, D9539, 14901 (in non-authentic BR Blue with TOPS number) and D9537.
On the last day of August in 1992 ATSF B40-8W 573 leads QRICH1 eastbound on the TransCon near Knox Road 1020E, north of Knoxville Illinois. Copyright © Revenge Photography. All Rights Reserved.
97303 leads 1Z94 10:01 Barmouth to Princes Risborough across the Barmouth bridge towards Morfa Mawddach. This was the first trip of the new Britannic Explorer down the Cambrian Coast. Wednesday 20th August 2025.
Our word for today from the Word of God actually comes from my life verse in Romans 8:37 . But, before we get to that, you have to hear the context. Paul talks about these things that have gone on in his life, "trouble, hardship, persecution, famine, nakedness, danger, sword." He's just talked about the worst terrain life has to offer!
If you're on a rocky or slippery road right now, it's probably covered in that list. Or whatever you're going through is nothing worse than what's on that list. Now, the response of someone who is living with spiritual four wheel drive, Romans 8:37 , "In all these things we are more than conquerors through Him who loved us." Those guys going where I can't go on those back roads, I know what they feel like - conquerors! The Bible says here that we can live with four wheel drive conquering, actually, more than conquering those things that sink most people. But, how can you be an all-terrain, all-weather Christian, especially with the difficulties you're facing right now? Well, there are four secrets in Romans 8 to four wheel drive faith. First of all you know there's a perfect plan. Verse 28 says, "We know that in all these things God works for the good of those who love him." No matter how the road or the weather looks, you trust in God believing that this road is part of His great loving plan and that if it's a bumpy road it leads to something very beautiful.
It's time that you shifted into four wheel drive for the bumpy or maybe even dangerous road ahead of you. You have a perfect plan, inexhaustible resources, unloseable love and an invincible Savior. Is there any road you can't handle? Is there any road where you cannot be more than a conqueror?
© Ronald P. Hutchcraft
maraculio.09 © All rights reserved
Burlington Northern Santa Fe 4894(C44-9W), Norfolk Southern 8860(C40-9), Burlington Northern Santa Fe 5356(C44-9W) Leads a Manifest Southbound on the BNSF Fort Scott Sub near Dennis Avenue and Keeler Street in Olathe, Kansas.
Photo Taken: 1-16-16 about 3:44 pm
Picture ID# 9552, 9553, 9554
HDR - High Dynamic Range
8130 leads a short 1721N empty cement train across the viaduct at Bowenfels. This would prove to be the third last train to the Kandos plant, with the final train running on July 21st, 2011.
1721/7122 cement freights ceased in mid-July with Cement Australia slowly closing down operations at their Kandos plant. Typically the domain of a 81 class, occasionally an 80 class would be rostered to assist, or a second 81 class if loading was high enough. On at least one occasion, a G Class locomotive worked the train as well.
Saint Nicholas' Street, Newcastle upon Tyne, Tyne and Wear, England, UK
Saint Nicholas' Street leads from the foot of Groat Market to the High Level Bridge, opened in 1849 to carry road and rail traffic over the steep banks of the River Tyne.
Although on the site of an earlier Norman structure, the present castle dates from 1172 when Henry II decreed the destruction of older, unlicensed castles but ordered the construction of stout defences against the Scots.
Much later, in the mid 19th century, the mighty railways punched through with little regard for history. Railways were the unstoppable force born of the Industrial Revolution. The line from Newcastle to Scotland via the east coast traverses that bridge right to left in the centre. The London bound trains crossed the High Level, travelling away from this vantage point.
The nearer building on the right is the old Post Office, erected in 1874 by James Williams. The Post Office closed in the late 1990s when Royal Mail restructured. It is now used as offices for the National Building Specification division of the Royal Institute of British Architects, who renovated the building. It is Grade II listed.
The further block is St. Nicholas' Building constructed around 1850 by William Parnell in the "Venetian Renaissance" style for use as shops and offices. All but the outer shell was rebuilt in 1998. Another Grade II listed building.
Photographic Information
Taken on 20th January, 2020 at 1431hrs with a Olympus OM-2sp through a F.Zuiko 50mm ƒ/1.4 lens on 35mm Ilford FP4 ASA 125 monochrome negative film, developed in Microphen stock at 20°C for 8m with 10s agitation per minute. Negative scanned on an Epson 4490, then post-processed in Adobe Photoshop CS5.
© Timothy Pickford-Jones 2020
Once a former Solar Union officer, Highlord Marshal Tyrestian is the single man responsible for the birth of the Mistarille Dawn, and he leads this force of spirited 'Justice Police' across the sectors, bringing swift, burning retribution against the Solar Union and others for their tyranny and betrayal of their fellow man.
Tyrestian, when partaking in frontline battle, pilots his custom Gernsback, the 'Helios'. Tyrestian is adept at close quarters combat, favoring the spear, which is why it appears in the Mistarille Dawn's emblem and banner. His Helios carries such a spear, the 'Torch of First Light'. Not only is this a powerful melee weapon, but it serves as a symbol of Tyrestian's split from the Solar Union.
He also carries a MX-CQC-03 "Godhand" pattern impact knuckle, to use both as an additional melee weapon a means to augment use of the 'Torch of First Light'.
Atop his frame on an ornamental spear sits his subtle but powerful sensor array, the 'Pinnacle of the Sun'. He uses this to communicate and relay combat information to the rest of the Dawn.
While Tyrestian doesn't join direct combat often, favoring Marshal Mardukas to lead the Dawn's forces, when he does he is a fury unbound and truly the burning spear of the fiery dawn.
Additional Shots:
Credit to Mitten Ninja for his lovely 3-wide torso that I used as a base to start from!
24124 leads a row of stored classmates at Millerhill on a snowy 21st November 1976.
This loco had been stored at Haymarket since July of that year, and added to the lengthening stockpile here in early November.
While most of the Scottish class 24s were cut up at Doncaster, this one ended its days at Swindon Works, being hauled there with 24065, 24107 and 24115 as the 02.20 Millerhill-Derby-Gloucester-Swindon on May 4th 1977, and cut up almost immediately on arrival.
31115 leads 31269 into Derby with 1M35, 13:05 Skegness – Derby, 16th July 1977.
Locomotive History
Both 31115 (originally D5533) and 31269 (originally D5699) were built at the Brush Falcon works, Loughborough, in 1959 and 1961 respectively. In 1973 selected members of the class began to receive electric train heating equipment and eventually seventy class 31 locomotives would be fitted with electric train heating over a twelve year period. 31115 would be one of the last so fitted becoming 31466 in 1985, whilst 31269 became 31429 when fitted in 1983. 31466 would give forty two years service until withdrawn in February 2001 and was one of only a handful of class 31’s to gain EWS maroon and gold livery. Following withdrawal it was sold for preservation and is currently (January 2010) at the Dean Forest Railway. 31429 was withdrawn in November 1991 after thirty years service and was broken up by CF Booth, Rotherham in April 1993.
59205 leads 59104 Village of Great Elm DIT through Berkley near Frome with a short, late-running 7C77 Acton to Merehead empties.
As all music fans know, "Sleeping Village" was the sixth track on Black Sabbath's remarkable (some would say terrifying) debut album "Black Sabbath". Released (well more like it wanted to escape and there was no-one brave enough to stop it) in 1970. The hugely influential album is held by many to be the moment that Heavy Metal as a music genre came into being, so well done to the lads from Brum. Personally I prefer the slightly later stuff, "Heaven and Hell" being my favourite with vocal duties handled by the teflon-tonsiled, gone but not forgotten, Ronnie James Dio after Ozzy was finally fired from the band for being a tool.
42202 leads Aurizon Intermodal trip train, 1253 from Yennora Distribution Centre to Glenlee. These shuttles run between Yennora and Glenlee to connect with Aurizon's BM/MB7 Intermodal train. Seen here passing under a footbridge located between Guildford and Merrylands on the Up Old Main South.
The Sydney loading is all handled through Yennora, but in the future will move to a new site at Moorebank.
Aurizon use the older locomotives on these shuttles, with the former NSWGR 422 class being quite the treat, after most of the class left NSW when they were disposed of from FreightCorp in the late 90's. Many others still see active service in other states, but besides this unit and the 2 CFCLA units that Transport Heritage NSW use, they are merely a visitor these days.
Aurizon Unit 42206, which also wears the Northern Rivers Railway livery, has spent some time in Sydney, but currently is used for shuttle services in Melbourne.
H1 BNSF CW44-9 #1000 leads 65 autoracks on the KCT North-South Corridor in the West Bottoms of Kansas City, MO.
Overloaded Bajaj* leads the "race" in one of streets in Jakarta.
*Bajaj or Bemo is an Indonesian auto rickshaw.
43016 leads an FGW HST set near Totnes forming the 08:42 Penzance-Paddington service on 15 May, 2010. Once stripped of the daft but briefly on-trend ‘dynamic lines’ vinyls, the plain blue power cars looked quite attractive to my eye, or perhaps they just reminded me of something…
Now approaching 25 years old, 325001 leads two other sets northbound through Acton Bridge on 9th July 2019 with 1S96 1621 Willesden to Shieldmuir postal train.
I've not got too many photos of these EMU replacements for the TPOs - so by way of a change, here's one! The rear set was 325011, not a clue what the middle one was.
The blue lights indicate that the roller-shutter doors are unlocked, so presumably the postal staff know where to head for to load mail. Interestingly, these sets are actually owned by the Royal Mail and not by a ROSCO.
Arkansas & Missouri C420 #44 leads the 1:30 passenger train south out of Springdale, AR under Don Tyson Parkway. The #44 started life in 1965 on the SAL before eventually moving to the L&N.
Amtrak EMD SDP40F locomotive # 649, leads the Floridian east out of Tampa after passing, the then in operation, TN tower on the left, September 1977. All the tracks in the area formerly belonged to the ACL & SAL which are at this time operated by SCL. On the opposite side of TN tower is the SCL north-south rail line that connected to Pinellas County which is located farther to the west from Tampa, where trains operated via Clearwater and Largo to Saint Petersburg. The Amtrak train was side lighted by the afternoon sun out of the west. In a short distance the train will enter and pass through the Tampa Uceta railroad yard. The train's next stop will be Lakeland, then on to Auburndale to be connected with the Miami section. The dwarf signals are protecting both mainline tracks in the opposite direction. Refrigerator cars were usually found on the siding located next to the warehouse on the right side of the photo.
Burlington Northern Santa Fe 642(C44-9W), 663(C44-9W) and 6619(ES44C4) Leads a Eastbound Power Move on the BNSF Emporia Sub near the West 87th Lane just East of Woodland Road in Lenexa, Kansas
Photo Taken: 11-20-16 at 2:31 pm
Picture ID# 5740
BR Blue 50044 'Exeter' leads the 1Z50 London Euston - Hollyhead charter with Virgin Train WB64 MK3 Set with 57304 'Gordon Tracey' on the rear, passing through the wonderfull yet soaking welsh coastline at Penmaenmawr
St Andrew, Westhall, Suffolk
I'm currently preparing a new page for Westhall at suffolkchurches.co.uk - I'm parking the old one here so it doesn't get lost forever.
Listen: come with me. We’ll set off from the Queen’s Head at Blyford, a fine and welcoming pub across the road from that village’s little church. Perhaps we’ll have just had lunch, and we’ll be sitting outside with a couple of pints of Adnams. You’d like to stay there in the sunshine for the rest of the afternoon, but I’m going to take you somewhere special, so stir yourself. You are probably thinking it is Holy Trinity at Blythburgh, Suffolk’s finest church a couple of miles away on the main A12. But it isn’t.
Nor is it St Andrew at Wenhaston, a mile away across the bridge, and home of the Doom, one of Suffolk’s greatest medieval art treasures. You’ve already seen that.
No. Within a few miles of the pub sign (notice that it features St Etheldreda, whose father King Anna was killed in battle on the Blyth marshes) there is a third of Suffolk’s finest churches. It is the least known of the three, partly because it is so carefully hidden, so secreted away, and partly because Simon Jenkins, inconceivably, unforgivably, missed it out of his book England’s Thousand Best Churches.This may yet have serious consequences, as we shall see.
Blyford is on the main road between Halesworth and Dunwich, but we are going to take a narrow lane that you might almost miss if you weren’t with me. It leads northwards, and is quickly enveloped by oak-buttressed hedgerows, beyond which thin fields spread. Pheasants scuttle across the road in front of us; a hare watches warily for a moment before kicking sulkily back into the ditch (we are on foot perhaps, or bicycle). Occasional lanes thread off towards the woods and the sea.
After a couple of miles, we reach the obscenity of a main road, and cross it quickly, leaving it behind us. Now, the lane narrows severely, the banks steepening, trees arching above us. They guard the silence, until our tunnel doglegs suddenly, and an obscure stream appears beyond the hedgerow. Once, on a late winter afternoon, my dream was disturbed here by a startled heron rising up, its bony legs clacking dryly as it took flight over my head. I felt the rush of its wings.
This road was not designed for cars. Instead, it traces the ancient field pattern, cutting across the ends of strips and then along the sides, connecting long-vanished settlements. The lane splits (we take the right fork) and splits again (the left) and suddenly we are descending steeply into a secret glade shrouded in ancient tree canopies. The lane curves, narrows and opens – and here we are. Still, you might not notice it, because the church is still camouflaged by the trees, and the absurdity of the neighbouring bungalow with its kitschy garden may distract you; but to your right, in a silent velvet graveyard sits St Andrew, Westhall. It has been described in one book as Suffolk’s best kept secret.
I hope that I can convey to you something of why this place is so special. Firstly, notice the unusual layout of the building as you walk around it. That fine late 13th century tower, not too high despite its post-Reformation bell-stage, organic and at one with the trees; the breathtaking little Norman church that spreads to the east of it. And then, to the north, a large 13th century nave, thatched and rustic. It was designed for this graveyard, for this glade. Neither has changed much. Beyond it, the grand 14th century chancel, rudely filling almost the entire east end of the graveyard. Perhaps as we step around to the north side the same thing will happen as happened to me one muggy Saturday afternoon in July 2003 – a tawny owl sat watching me on a headstone, and then threw itself furiously into the air and away.
Your first thought may be that here we have two churches joined together – and this is almost exactly right. You can see the same thing on a similar timescale at Ufford, although the development there is rather more subtle than it is here.
Here at Westhall, there was a Norman church – an early one. Several hundred years later a tower was built to the west of it, and then the vast new nave to the north. A hundred years later came the chancel. Perhaps the east end of the Norman church was rebuilt at this time. Mortlock thinks that there was once a Norman chancel, and this may be so. The old church became a south aisle, the particular preserve perhaps of the Bohun family. They married into the famous Coke family, who we have already met at nearby Bramfield.
And so, we step inside. We may do so through the fine north porch; it is a wide, open one, clearly intended for the carrying out of parish business. It was probably the last substantial part of the church to be built, on the eve of the Reformation. The door appears contemporary. Or, I might send you round to step in through the Norman doorway on the south side, into the body of the original church.
You expect dust and decay, perhaps, in such a remote place. But this is a well-kept church, lovingly maintained and well-used. Although there are a couple of old benches scattered about, most of the seating is early 19th century, with that delightful cinema curve to the western row which was fashionable immediately before the Oxford Movement and the Camden Society sent out their great resacramentalising waves, and English churches were never the same again.
If you step in from the south, then you are immediately confronted with something so stunning, so utterly wonderful, that we are going to pretend you cannot believe your eyes, and you pass it by. Instead, draw back the curtain, and step into the space beneath the tower. Walk to the western wall, and turn back.
You are confronted with the main entrance of a grand post-conquest church, probably about 1100. Surviving faces in the unfinished ranges look like something out of Wallace and Grommit. Above, an arcade of windows, the central one open. Almost a thousand years ago, it would have thrown summer evening light on the altar.
As you step back into the aisle, it is now easy to see it as the nave it once was. The northern wall has now gone, replaced by a low arcade, and you step through into the wideness of the modern (it is only 600 years old!) nave.
Here, then, let us at last allow ourselves an exploration of Suffolk’s other great medieval art survival. This is Westhall’s famous font, one of the seven sacrament series, but more haunting than all the others because it still retains almost all its original colour.
The Mass panel is the most familiar, because it is the cover of Eamonn Duffy’s majestic The Stripping of the Altars. The other panels, anti-clockwise from this, are Last Rites, Reconciliation, Matrimony, Confirmation, Baptism, Ordination, and the odd panel out, the Baptism of Christ.
The font asks more questions than it answers. How did it survive? Suffolk has 13 Seven Sacrament fonts in various states of repair. Those nearby at Blythburgh, Wenhaston and Southwold are clearly from the same group as this one, but have been completely effaced. Other good ones survive nearby at Weston and Great Glemham, at Monk Soham, at neighbours Woodbridge and Melton, neighbours Cratfield and Laxfield, at Denston in the south west and at Badingham. We don’t know how many others there might have been; probably not many, for most East Anglian churches have a surviving medieval font of another design. The surviving panels were probably plastered over during the long puritan night (the damage to the figures is probably a result of making the faces flush rather than any attempt at iconoclasm) but they were also all probably once coloured. So why has only this one survived in that state?
The other feature of the font that is quite, quite extraordinary is the application of gessowork for the tabernacled figures between the faces. This is plaster of Paris which is moulded on and allowed to dry – it can then be carved. It is sometimes used on wood to achieve fine details, but rarely on stone. Was it once found widely elsewhere? How has it survived here?
If it was just for the font, then St Andrew would still be an essential destination for anyone interested in medieval churches. But there are several other features that, in any other church, would be considered equally essential.
There is the screen. It is a bit of a curiosity. Firstly, the two painted ranges are clearly the work of different artists. On the south side are female Saints, very similar in style to those on the screen at Ufford. The artists helpfully labelled them, and they are St Etheldreda (the panel bearing her left half has been lost) St Sitha, St Agnes, St Bridget, St Catherine, St Dorothy, St Margaret of Aleppo and finally one of the most essential Saints in the medieval economy of grace, St Apollonia - she it was who could be asked to intercede against toothache. With the possible exception of St Margaret, modern Anglicans would think of all of these as peculiarly Catholic Saints, a reminder that St Andrew was built, after all, as a Catholic church.
The depictions on the northern part of the screen are much simpler (Pevsner thought them crude) and are probably painted by a local artist. Note the dedicatory inscription along the top on this side; it is barely legible, but the names Margarete and Tome Felton and Richard Lore and Margaret Alen are still discernible. I think the figures on this screen are equally fascinating, if not more so. They are all easily recognisable, and are fondly rendered. With one remarkable exception, they are familiar to us from many popular images.
The first is Saint James in his pilgrim's garb, as if about to set out for Santiago de Compostella. The power of such an image to medieval people in a backwater like north-east Suffolk should not be underestimated. Next comes St Leonard, associated with the Christian duty of visiting prisoners - perhaps this had a local resonance. Thirdly, there is a triumphant St Michael, one of the major Saints of the late medieval panoply, and then St Clement, the patron Saint of seafarers. This is interesting, because although Westhall is a good six miles from the sea, it is much closer to the Blyth river, which was probably much wider and faster in medieval times. It seems strange to think of Westhall as having a relationship with the sea, but it probably did.
Next comes the remarkable exception. The next three panels represent between them the Transfiguration; Christ on a mountain top between the two figures of Moses and Elijah. It is the only surviving medieval screen representation of the Transfiguration in England. Eamonn Duffy, in The Stripping of the Altars, argues that here at Westhall is priceless evidence of the emergence of a new cult on the eve of the Reformation, which would snuff it out. Another representation survived in a wall painting at Hawkedon, but has faded away during the last half century.
The last panel is St Anthony of Egypt, recognisable from the dear little pig at his feet. I wonder if it was painted from the life.
There is a fascinating wall painting against the north wall. It shows St Christopher, as you might expect. St Christopher was a special devotion in the hearts of medieval churchgoers, and usually sits opposite the main entrance so that they could look in at the start of the day and receive his blessing. As a surviving inscription at Creeting St Peter reminds us, anyone who looks on the image in the morning would be spared a sudden death that day. It is the other figures in the illustration that are remarkable, though, for one of them is clearly Moses, wearing his ‘horns of light’ (an early medieval mistranslation of ‘halo’).
There are a couple of other wall-paintings, including a beautiful flower-surrounded consecration cross beside the south door, and a painted image niche alcove in the eastern splay of a window in the south wall. This is odd; it should have a figure in it, but none appears to have been painted there. Perhaps it was intended to have a statue placed in front of it, but the window sill is very steep, and it is hard to see how a statue could have been positioned there. DD surmised that there had once been a stand, the base of which was canted in some manner, and that the sill had once been less steep (the base of the painting seems to suggest this). Whatever, it is very odd.
Between the painted niche and consecration cross there are surviving traces of a large painting; it seems to consist of the leafy surrounds of seven large roundels. Mortlock wondered if it might have been a sequence of the Seven Works of Mercy as at Trotton in Sussex, but there is insufficient remaining to tell.
Nicholas Bohun's tomb, in very poor repair, sits in the south-east corner; an associated brass gives you rather more information than you might think you need. A George III royal arms hangs above.
If you haven't lost your appetite for the extraordinary, come back up into the apparently completely Victorianised chancel. Chalice brasses are incredibly rare, because of their Catholic imagery. Westhall had two of them, although unfortunately only the matrices survive. Then, look up; on one of the roof beams is an image of the Holy Trinity, with God the Father holding the Crucified Christ between his knees. There is probably a dove as well, although that is not visible from the ground. Indeed, the whole thing is too small, as if the artist hadn't really thought about the scale needed for it to be seen from the chancel floor.
So there we are, I've let you in on Suffolk's best-kept secret. But I said earlier that I was afraid Simon Jenkins’s omission of this church might have serious consequences. Here is why: there is an ongoing programme of essential repairs, and the church has had to raise tens of thousands of pounds at fairly short notice. The parish has less than a hundred people living in it, and the congregation is barely in double figures. The church is clearly a national treasure, and its continued survival is essential; but it is difficult to convince people of this, because it has been missed out of what is increasingly being treated as a heritage wish-list. It was bad enough that Pevsner’s books were used as arbiters of what should survive when redundancies loomed in the 1970s; it would be appalling if the Jenkins book was used in the same way now.
3642 leads the second last Heritage Express shuttle of the weekend, 6275, heading to Valley Heights from Penrith. Seen here moaning up Glenbrook Gorge with 4490 and 4520 assisting on the rear and Sydney's Western suburbs in the background.
Glenbrook Gorge, NSW.
Sunday 22 June 2014.
BNSF 4614 leads a southbound stack train on Tehachapi Loop at Walong, west of Tehachapi, CA on Saturday, April 12, 2008.
BNSF 4614 is a GE C44-9W. Reportedly it was built in 2000 serial number 52138.
UP 7837 leads a southbound manifest on Union Pacific’s Brooklyn Subdivision at Dougren. This is near Springfield, Oregon. The mainline was once routed alongside the rocky hills in the distance, before being relocated here for the building of Lookout Point Reservoir in 1952. Taken February 7, 2025.
NS 6092 Leads A87 back East to Sheffield Yard after working Cherokee Nitrogen. A little background on this unit Built for the Norfolk and Western back in March of 1975 this unit has kept the same number from the N&W all the way to NS for a impressive 47 Years of service on top of that the unit has not been rebuilt and still retains its original Leslie RS5T Horn it was equipped with when built. Overall this is one of the most Original SD40-2s I've seen!
Courage leads to success only with calculated risk. There is a lot of difference between flying close to the sun and flying "too" close to the sun.
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The first of two test trains passes through Treeton on a Saturday morning , pictured is the 0851 1Q17 Derby RTC - Carlisle High Wapping Sidings , right up its exhaust pipe will be the Network Rail HST set working the 0832 Derby RTC - Heaton TMD.
24 1 15
Union Pacific 6829(AC44CW), 4316(SD70M) and 8002(AC45CCTE) leads a Southbound Autorack on the BNSF Fort Scott Sub in the 14600 Block of Santa Fe Trail Drive in Lenexa, Kansas
Photo Taken: 9-11-16 at 5:36 pm
Picture ID# 1300
Riddler leads the Dynamic Duo into Harley Quinn's dynamite trap! Will Harley detonate the massive pile of explosives and finish the Batman and boy wonder once and for all? Will Batman see through Riddler's ruse? Will Robin cut the detonator wire in time? Will the goons get out of there? Will Riddler cruise off on his cool trike?
Who knows, but it's going to be fun finding out!
A moc based on table scraps: sewage pipe and Riddler trike. All comments appreciated.