Transformers G1 Quotes

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Selection on one of two genetically correlated characters will lead to a change in the unselected character, a phenomenon called 'correlated selection response.' This means that selection on one character may lead to a loss of adaptation at a genetically correlated character. If these two characters often experience directional selection independently of each other, then a decrease in correlation will be beneficial. This seems to be a reasonably intuitive idea, although it turned out to be surprisingly difficult to model this process. One of the first successful attempts to simulate the evolution of variational modularity was the study by Kashtan and Alon (2005) in which they used logical circuits as model of the genotype. A logical circuit consists of elements that take two or more inputs and transform them into one output according to some rule. The inputs and outputs are binary, either 0 or 1 as in a digital computer, and the rule can be a logical (Boolean) function. A genome then consists of a number of these logical elements and the connections among them. Mutations change the connections among the elements and selection among mutant genotypes proceeds according to a given goal. The goal for the network is to produce a certain output for each possible input configuration. For example, their circuit had four inputs: x,y,z, and w. The network was selected to calculate the following logical function: G1 = ((x XOR y) AND (z XOR w)). When the authors selected for this goal, the network evolved many different possible solutions (i.e. networks that could calculate the function G1). In this experiment, the evolved networks were almost always non-modular. In another experiment, the authors periodically changed the goal function from G1 to G2 = ((x XOR y) or (z XOR w)). In this case, the networks always evolved modularity, in the sense that there were sub-circuits dedicated to calculating the functions shared between G1 and G2, (x XOR y) and (z XOR w), and another part that represented the variable part if the function: either the AND or the OR function connecting (x XOR y) and (z XOR w). Hence, if the fitness function was modular, that is, if there were aspects that remained the same and others that changed, then the system evolved different parts that represented the constant and the variable parts of the environment. This example was intriguing because it overcame some of the difficulties of earlier attempts to simulate the evolution of variational modularity, although it did use a fairly non-standard model of a genotype-phenotype map: logical circuits. In a second example, Kashtan and Alon (2005) used a neural network model with similar results. Hence, the questions arise, how generic are these results? And can one expect that similar processes occur in real life?
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GΓΌnter Wagner (Homology, Genes, and Evolutionary Innovation)
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Cliffjumper was interesting because originally we based him on the G1 version, a compact car. He was like that for a few weeks, then, one day, after a lot of work had been done, Jeff told me that the Rock was doing the voice so I should make him a badass muscle car. We didn't have time to redo both modes so we only tweaked the robot mode. That's why there are a lot of round shapes on the bot but not the vehicle. -Jose Lopez
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Jim Sorenson (Transformers: Art of Prime)
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Megatron went through a lot of changes, Originally. we wanted to borrow desions from the movie version. We saw him as a tortured soul, twisted metal into his body and coming out elsewhere. He didn't have the normal anatomical breaks that our guys have, which is a guy in armor. At some point we said let's forget the movie stuff and just do our own thing. Then I went back to looking at Megatron from G1. We made him a bit rounder and spikier than the G1 version, but borrowed heavily from G1. If you look at the legs, the way the shins curve in and out and the back of the leg, the cannon on the arm, the bucket head, even things like the position of the emblem on his chest and little cuts on his ribcage, all those elements are still there. -Jose Lopez
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Jim Sorenson (Transformers: Art of Prime)
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I was already upset that they killed [Cliffjumper]. But turning him into a zombie was something else... I twisted his legs, gave him fangs. It was tough on me, because I'm a G1 guy, but it was fun. It set the tone of the series. -Walter Gatus
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Jim Sorenson (Transformers: Art of Prime)
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We looked through all the incarnations of Optimus over the years and kept the iconic elements that make him who he is. The crest on his head. The windshield wipers on his chest. The position of the wheels on the lower legs. The position of the emblems on the shoulders. Even on the biceps you see the slightly lighter grey tone just to mimic the white on the biceps of G1. -Jose Lopez
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Jim Sorenson (Transformers: Art of Prime)
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Bumblebee was the second design that I worked on. Looking at G1, we thought that version was too kid-like. We wanted him to feel tougher. We liked the personality and enerou from the Bumblebee from the movie. -Jose Lopez
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Jim Sorenson (Transformers: Art of Prime)
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I was really just trying to bring back what G1 was- a bulked-out Optimus Prime with giant shoulder pads. We tried 2 or 3 different color schemes. One was very G1, very bright red and white, but we muted it down to something that fits more in with the Prime universe. -Walter Gatus
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Jim Sorenson (Transformers: Art of Prime)
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He's the one that Hasbro had concern about, and said that we had to put something from the original version. There are elements around the head that were borrowed from G1 but that's about it." -Jose Lopez on Soundwave
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Jim Sorenson (Transformers: Art of Prime)
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I really loved his original G1 design. We focused on things you really wouldn't think about. We spent a lot of time designing the chain that connects his gun to his back. The chain became the treads for one area on the tank. The other set of treads we just hide in his back but you can see it in the design peeking through. We actually created his spine from that. -Jose Lopez on Shockwave
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Jim Sorenson (Transformers: Art of Prime)