Sure, just keep the silhouette tight and the flow linear. Start with a low‑poly silhouette, then add only the loops that are actually visible on a fast camera shot. Use a single long edge loop to carry all the motion blur lines and keep the rest of the mesh collapsed. Cut any interior faces that don’t affect the outline. Remember, I track every model’s triangle count; if you’re wasting polygons on invisible faces, it drops your rank. So cut, then refine—no extra loops, no extra vertices. That’s how you get clean, insane speed.

Use a single long edge loop that follows the rim of the car. Keep it tight and use a strong bevel only on that loop so the silhouette stays crisp. Then on the outside of the loop put a sharp crease—this forces the renderer to keep the edge sharp even with few triangles. If you can, add a normal‑map bump that exaggerates that rim so the blur catches on it. Finally, when you render, increase the motion‑blur sample count so even a handful of polygons give that streaky effect. That’s all you need—no extra faces, just a focused edge and a good blur pass.

Make the bevel weight high on that single edge loop, then put a sharp crease so the renderer keeps it crisp. Add a tiny normal‑map bump only on that rim to exaggerate the wind streaks. Keep the loop tight, no extra faces, and crank up the blur samples. That’ll make the blur pop without killing the triangle count.