因此，动画总是被认为是颠覆性的、超现实主义的、神秘的、魔幻的，但并不是为了赋予物理现实主义。因此，许多研究者基于现实主义概念和夸张理论，将二维和三维技术的元素结合起来，致力于制作混合动画。作为一个重要的例子，Sakaguchi Hironobu(2001)的《Final Fantasy: The Spirits Within》便是基于Square的游戏系列《Final Fantasy》而创作的，《Final Fantasy》最初创建于1987年。他们一直在设计角色，尤其是电影中的角色，从游戏世界中提取出来。美国影评人罗杰·艾伯特曾这样描述这部电影的主角阿基·罗斯博士:
“我们甚至一刻都不相信女演员阿基·罗斯(Aki Ross)是真人。但我们倾向于承认，她的生活方式才是最重要的。她似乎有一种怪异的礼物，可以被认为是微妙的不真实，即使令人信服。她的动作似乎很好地反映了真实演员的动作，而她的头发一直在以一种令人信服的方式吹着。如果阿琪不能被认为是真实的，那么她可以被认为是一个玩伴，她的修饰已经做到了光彩照人的完美。”Animators put in perpetual attempts in reproducing natural elements for the mimicry of humanity in every form and surroundings which deals with the reflection of realism. The reflection of realism plays two key roles. First, there is a role of looking and moving like something that is part of the world. Second, there is a role of providing a better view of believable behaviours and authentic emotions. Animation and film in its pure form tend to be no longer dominating the movement of image culture, rather, there is a combination of media playing a major role in these mediums of visualization.
Therefore, animation is supposed to be invariably subversive, surreal, mystical, and magical, but simply not for bestowing physical realism. Hence, a number of researchers have been putting in efforts for the production of hybrid animation in combining elements of 2D and 3D technology on the basis of realism concept and theories of exaggeration. As a significant example, “Final Fantasy: The Spirits Within” by Hironobu Sakaguchi (2001) has been set on the basis of Square’s game franchise, “Final Fantasy” that was originally created in the year 1987. There had been designing of characters especially from the film, extracted out of the world of games. Roger Ebert, an American Film critic has described the key character of the film, Doctor Aki Ross, as follows:
“Not even for a single moment we believe that the actress, Doctor Aki Ross, is an actual human. But we tend to concede that she has a form of life that is the overall point. She seems to be having an eerie present, at once which can be considered as subtly unreal, even though convincing. Her movements seem to feel right mirroring the actions of actual actors, while her hair keep blowing in a convincing manner. If Aki cannot be considered as real, she can be considered as real as a playmate, retouching of which has been done with glossy perfection.”
再进一步说，考虑到电影《极地特快》(2004)，由罗伯特·泽米吉斯导演的CGI是第一部为每一个演员使用完整的表演捕捉的故事片。它是基于儿童书籍插图克里斯范奥尔斯伯格(1985)，往往自夸的现实主义。在考虑角色的真实性时，电影中的大部分主要角色都是由汤姆汉克斯扮演的，其中也包括“英雄男孩”。有渲染纹理在某种程度上简化和平滑的方式。当考虑到动作的真实性时，由于整部电影都是建立在表演和动作捕捉的基础上的，所以即使存在一些表现力多样的表现，也可以认为是比较流畅的。在电影中，动作捕捉的关键标志是在特定的人物晃动范围内的可见性。这种摇摆可以被确定为基于运动捕捉的表演的极端特征，因为很少有人能在如此绝对的静止状态下站立。在现实生活中，这种感觉是自然的，但当它被翻译成大屏幕时，它最终变得非常引人注目和不可思议。Further ahead, considering the movie Polar Express (2004), directed by Robert Zemeckis was the first feature film of CGI that utilized complete Performance Capture for each and every actor. It is set on the basis of children’s book illustrated Chris Van Allsburg (1985) that tends to be boasting about realism. When considering the realism of character, majority of the main characters within the movie had been performed by Tom Hanks that also included “Hero boy”. There has been rendering of textures within a somewhat simplified and smoothed over manner. When considering the realism of movement, as the entire film is set on the basis of Performance and Motion Capture, it can still be considered as somewhat smooth, even though there is a presence of some expressive various. With the film, the key mark for the use of Motion Capture has visibility within a specific amount of swaying across the characters. This swaying can be identified as extremely characteristics of performances based on Motion Capture as rarely a human will be able to stand with such absolute stillness. In setting of real life, the perceiving of this is done as natural, but when there is its translation into large screen, it ends up becoming very noticeable and uncanny.