Having acquired X-Men animated series, apart from the top-notch stories it's apparent that dynamic cartooning action must have free-form line with simple sequences.
One only needs an impressive impression of the action sequences, expressed with colour and shape and line. The physical illusion dynamically attracts the eye and, through narrative sequences, provides the psyche with ample clues on the interior characteristics of the protagonists.
Why can this psychic content not be achieved with the 'realism' of 3D? Well, many things are illusory in the real world: moon and sun, earth and sea and sky all depend on balance in the nature of things. Is the sea a calm, reflective surface or s raging torrent of unreachable depths? (see Francis Stevens' Claimed prev.)
'Realism' is just a word. Living in a 3D world, we recognize expressive impressions of movement through outline and though the focus of distance. The rough impressions of the eye to brain are perfectly adequate since they rely on rhythm.
For example, if a car speeds past lampposts, there is a beat. That is the rhythm of movement, which includes distance between lampposts and the timing of the action. The simple equation is that
speed = distance/time (km/hr)
In other words, animals in motion don't need to calculate these things, they just sense the rhythm.
This is really why 3D animation is unnecessary, since the expressive impression contains within it the free-flowing, free-form line that dynamises the action.
Everything is rhythmic, and it's not to do with cumbersome calculations which is what algorithms do. Their calculations determine the structure of the body under animation but, in fact, these things are better suggested, more dynamic and expressive.
Bear in mind that anatomy is antagonistic push and pull (muscles), not a logical calculation of ones and zeros (algorithm.) Before the scientific era,outline was sufficient. Animating that is rhythmically accurate and perfectly sufficient for directing purposeful action with psychic content.
For a fairly sophisticated story to work, various things are happening on-screen. Flat colours and shapes with layered effects; sharp repartee ('sugah'); the shifting line of contour; shadow and silhouette; dazzle; shade..
The eye is intensely affected by these rhythms; lose the rhythm and you lose the impact. To none of that does 3D add anything, but it subtracts quite a lot!
The 'realism' of 3D has no psychic content, which is artificially mapped onto it at a later stage (see P199). In 2D animation, the rhythmic line is what connects action to psyche. What affects the psyche is fairly obscure, down to light touches of line (visual) and lines (repartee).
As a fan of the genre, one isn't impressed by 'realism', only accuracy in terms of the story. Good animation tells this in simple rhythmic flow of action, colour, shape. Many have commented that the animated characters are far truer to the comic (than the films); it's down to deft touches and an almost thoughtless manner. Almost a definition of poetry as opposed to didactic efforts.
Action in the physical world is a dynamic state that doesn't recognize thought (head), only the rhythms of the body (transmitted to the brain). See Bruce Lee, prev. 2D is dynamically active, reflecting a psychic content and behaviour of characters, exactly as in real life.
3D is a step towards hyper-realism that mirrors the scientific era. Consider the world as a spinning top; this is accurate enough, and it's very clear that a spinning top has to have uniform time over all of its surface.
There's one rhythm, the rhythm of the top spinning (in space). There is a universal beat to this and, according to UVS website (of Vincent), aether exists and harmonics of spinning celestial objects percolate aether.
This then has rhythms associated with it. Note that these rhythms can only exist if there is uniform time - that's a definition of rhythm. If time was relative there could be no universal rhythms.
So, the question is: is the rhythm of the world distorted by Relativity calculations? The precision is like the precision of 3D animation (algorithms or vectors in 3D-space). It disturbs the rhythms of lines which don't need calculation, but are expressive.
The hyper-realism does not allow for illusion but, in fact, illusions of focus and blurred outlines are what create the illusion of rhythmic motion.
Hyper-realism extended to its ultimate becomes Relativistic. In other words, for the purposes of accurate time-speed calculation, time becomes variable.
The hyper-realist illusion is what 'they' would like us to think of as reality. It is simply an illusion of machine-precision that enables machines to calculate time-speed coordinates.
The accuracy distorts the rhythms because the mathematics of 'bending' enters a parallel reality of hyper-realism (P198).
Hyper-realism distorts free-form rhythm and one can see this in 3D animation. Hence the dynamic balance of protagonists and their effect on the psyche (of viewers.)
The distortion of natural rhythm is what I've been calling the profane serpent. Meaning the organic run by machines/algorithms (see 'clean meat', prev.)
In terms of this type of mythical imagery, what you could also say is that the 'spokesperson' for the profane serpent is the sorcerous dragon!
A fiery dragon is easy to liken to the loudness of ego that trumpets misguided assumptions about the accuracy and precision of scientific method.
Like Newton's light-box of knives (C4-C6), one enters a parallel reality of precision without the rhythms of life and death that animate nature. While we have the 'realism'of DNA, we don't have the reality of decay and revival provided through the soil and the underworld.