What Are Atkinson Cycle Engines, And When Did Cars Start Using Them?






The four-cycle, or Otto cycle, engines that powers today’s cars derived from designs attributed to pioneers like Nicholaus Otto, for whom the Otto cycle is named. Otto received a patent for his design, featuring four equal length strokes, in 1887. At that time in history, many others, like Gottlieb Daimler and Wilhelm Maybach were involved with Otto’s, and some other designs as well. 

While the Otto cycle engine was powerful for its time, it had very low thermal efficiency — the net power an engine produces from the fuel it burns. The heat produced by burning fuel, and its resulting expansion during the combustion cycle is what actually drives the engine. James Atkinson patented his design for a modified-four-stroke engine in 1882. The Atkinson cycle engine had similarities to the Otto cycle, but with higher thermal efficiency. However, it was far less powerful at lower rpm, and too complex to allow worry-free operation at higher speeds. 

Both designs have the same four operating strokes — intake, compression, power, and exhaust. The difference is the Atkinson cycle engine employs a complex connecting rod contraption that delivers intake and compression strokes that are shorter than its power and exhaust strokes. Efficiency gains are attributed to the Atkinson cycle’s shorter compression wasting less energy trying to achieve optimum compression. The Atkinson cycle engine was never widely used by automakers, but the theory behind its efficiency likely inspired the invention of the Miller cycle engine 70 years later. Mazda used the Miller-cycle engine for a couple of model years starting in 1994.

Instead of the complexities of the variable piston stroke found in the true Atkinson cycle, Miller’s design approximated the Atkinson cycle by keeping the intake valve open well into the compression stroke to achieve its efficiency gains. Then Miller added a supercharger to offset the design’s inherently low power.

Do cars use Atkinson-cycle engines today?

While today’s cars don’t use the variable piston stroke length found in Atkinson’s original design, many of them advertise Atkinson cycle engines powering their cars. Instead of the original complex connecting rod linkages, modern automakers employ one of several variable valve timing systems (VVT), one of the most effective fuel efficiency technologies ever made, to open or close intake and exhaust valves sooner or later to provide optimum circumstances under various conditions.

Fiat is often credited with patenting the first viable VVT system in the 1960s, but Alfa Romeo gets credit with mass producing the first engine to feature a game-changing variable valve timing system in 1980. Toyota, like many other automakers, often combine Atkinson-style VVT engine designs with battery-electric drive motors in hybrid vehicles, in order to take advantage of the best attributes from both power types. The electric motors provide torque and horsepower when it’s needed, and the efficient Atkinson cycle engine charges the battery when it’s needed and/or provides propulsion when acceleration isn’t a concern.





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As an ardent, perhaps obsessive, Harry Potter fan, I can’t say I was thrilled when I learned HBO was rebooting the beloved film franchise as a TV show. 

Like millions of other Harry Potter enthusiasts, the books and movies have been a key part of both my adolescence and adulthood, offering a magical refuge from a not-so-dazzling Muggle world. Theme parks, Broadway shows, mega stores and audiobooks have kept the spellbinding story alive not just for my generation, but for younger Potterheads as well. 

But I never thought we’d get an on-screen retelling just a decade and a half after the films wrapped up. What was the point of doing it all again with a brand-new cast, beyond the obvious monetary gain?

Hollywood is stuck in a loop of recycling successful TV shows and movies to make an easy buck. I thought Harry Potter was safe from that phenomenon, at least for a while, given the ongoing relevance of the films. Over the years, I’ve gone to multiple Harry Potter screenings with audiences of all ages, highlighting the franchise’s broad cultural appeal across generations. Surely, there was still room for future generations to take part in something that’s brought us so much joy. 

Despite controversy surrounding author JK Rowling’s views on transgender issues, which run counter to the series’ themes of love, inclusivity and justice, Harry Potter remains a meaningful part of many fans’ lives. Its stories, characters and themes continue to resonate, fostering a sense of connection and belonging for those who have adopted the wizarding world as their own. 

Now, the enchantment of the original films would be supplanted by a shiny new TV franchise. A world that had come to life so vibrantly on screen would be repurposed before the magic had run out. I wasn’t on board with the idea at all.

But recently, something changed. 

As more details began to emerge about the upcoming TV series, I felt myself softening toward the endeavor. Starting later this year, the episodes will be released on HBO and HBO Max over a decade, with each season focusing on one of the seven books for a more in-depth telling of the story than the film adaptations. As much as I love the movies, having more time to delve into side stories and details that didn’t make it on screen the first time doesn’t sound like such a bad idea. 

When HBO dropped the first trailer for Harry Potter and the Philosopher’s Stone this week, I felt a mixture of trepidation and curiosity. Just how familiar — or not — would this reimagined world feel? As I hit play, those feelings quickly gave way to an unexpected excitement. 

In the trailer, we glimpse the loneliness of Harry’s upbringing as he’s tossed in the cupboard under the stairs, reprimanded by his aunt and bullied by his cousin. We hear him lament how little he knew his parents. We see him take in the splendor of Hogwarts with wonder. We watch him light up as he finds joy with new friends. 

The actors playing the golden trio of Harry (Dominic McLaughlin), Ron (Alastair Stout) and Hermione (Arabella Stanton) appear well-suited for their roles, even in the brief glimpses we get of them navigating this enigmatic and enchanting world.

The iconic lightning bolt scar, the calligraphic acceptance letter, the homey Hogwarts Express — it’s all so familiar and yet entirely new. Despite my earlier hesitation, it’s thrilling to be part of this second wave of magic — even if I still see the show as a clear attempt to further profit from a successful franchise. But rather than viewing the TV series as a departure or replacement of the beloved movies, I’m choosing to see it as another way to keep the wizarding world alive through a fresh lens.

If the train is leaving the station, I might as well hop aboard and enjoy the ride. When Harry Potter and the Philosopher’s Stone debuts in December, I’ll be watching, Butterbeer in hand. As Hagrid wisely put it, “What’s comin’ will come, an’ we’ll meet it when it does.”





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