Why is 3DCG Animation Criticized? — Between Affection for "Hand-drawn" and Evolution

Prologue: Is 3DCG an "Enemy" or a "New Pencil"?

On the internet, simplistic statements like "3DCG = laziness" or "I dislike it because it looks like a game" sometimes become visible. However, 3DCG is not a "substitute for hand-drawing" but a "new pencil" for drawing. In fact, works like 'Land of the Lustrous,' 'BEASTARS,' and 'TRIGUN STAMPEDE' have received high praise by connecting the strengths of cel-look 3D (stable models, camera movement, material expressiveness) with "anime-like symbols (lines, omissions, limited layouts)."

Creators at Studio Orange repeatedly discuss their design philosophy of "reproducing 2D behavior in 3D" at various events and interviews.PolygonCrunchyrollSlashfilm

Chapter 1: "Lines" and "Spaces": The Grammar of Japanese Anime and the Clash with CG

Japanese TV anime has historically utilized limited animation (even at 24fps projection, "2-frame shooting = equivalent to 12fps," "3-frame shooting = equivalent to 8fps") extensively, creating a "pleasantness" through the rhythm of still image → fast movement → afterglow. The "frame rate modulation" that differentiates frames is also a "design" that narrows the amount of information to guide the viewer's gaze.

In contrast, beginner-level 3D tends to flow "constantly smooth," resulting in a tendency to produce a "slippery feel" and "lack of presence." This is not a matter of technical superiority but a mismatch of grammar.blog.sakugabooru.comWave CannonHacker News

Chapter 2: "Uncanny Valley" and the Physics of Faces—The True Nature of Physiological Discomfort

The closer something gets to being "almost human," the more a slight deviation can cause significant discomfort—this is the Uncanny Valley proposed by Japanese robotics researcher Masahiro Mori. Human facial features, gaze, lip shape, and cheek delay can fall into "scariness" with just a few percent deviation. The preference for "line omission" and "flat shading" in cel-look 3D is also wisdom to avoid this valley.IEEE Spectrum+ 1

Chapter 3: Memory Devices of Controversy—How "Bad Examples" Shape Culture

In understanding fan psychology, the memory of failures cannot be ignored. 'Berserk (2016)' was heavily criticized for the stiffness of its models and camera discomfort, amplifying the prejudice that "CG = cheap." 'EX-ARM' was targeted for its quality from the preview stage, and is now spoken of as a "synonym for CG collapse." These "negative reference points" are recalled every time a new 3DCG work is released, strengthening preconceptions.WikipediaInto the World of Comics

Chapter 4: Nevertheless, Success is Accumulating

On the other hand, successful examples are steadily accumulating.

• 'Land of the Lustrous': Demonstrated the "necessity of 3D" with the texture of gemstones and camera work, receiving high praise.Anime UK News

• 'BEASTARS': Balanced "realism" and "anime symbols" with the muscles, fur, and subtlety of acting of beasts. Studio Orange also discusses the implementation of facial tracking.Polygon

• 'TRIGUN STAMPEDE': Reinterpreted with dynamic lens design and camera work. Preparations for the sequel 'TRIGUN STARGAZE' are also underway.Polygon

• 'Lupin III THE FIRST': Revived a classic IP in 3DCG, praised by the LA Times as a "light and fun 3DCG adventure."Los Angeles Times

• 'Dragon Ball Super: Super Hero': Achieved the number one box office result in North America with a more full 3D style, expanding the range of expression options.EW.com

Chapter 5: Industrial Structure: The Committee System, Human Resources, Wages, and the Reality of 3D

The adoption of 3DCG is not a shortcut to cost reduction. To accumulate stable shots, a long pipeline of modeling → rigging → layout → animation → lighting → compositing is necessary. In Japan, the committee system, budget dispersion, long working hours, and low wage structural issues overlap, increasing quality risks regardless of 2D/3D. Recent industry surveys also point out the tendency for young people's annual income to remain low.Tokyo Weekender

Chapter 6: Conditions for "Good 3DCG"—7 Principles Common to Successful Works

1. Preserve 2D "Behavior": Facial deformation, line omission, frame design.

2. Material Necessity: Gems, beasts, mecha, etc., with "3D uniqueness" at the center of the screen.

3. Lens and Layout: Translate anime's sense of perspective and exaggeration to 3D cameras.

4. Frame Design: Avoid all shots "on the ones," mix in two to three-frame shooting and "extractions."blog.sakugabooru.com

5. Abstract Shading (Cel-look): Ensure "line information" with toon shading/contour lines.ACM SIGGRAPH Blog

6. Facial Subtlety: Threshold management to avoid the Uncanny Valley.IEEE Spectrum

7. Consistency in Production System: Strong collaboration of "direction × TD" for cross-pipeline management. Studio Orange's example is a good one.Polygon

Chapter 7: Case Studies (Simplified)

• 'Land of the Lustrous': The "transparency and reflection" of hair and body are difficult to reproduce by hand. 3D's physics-based approach expands the drama.Anime UK News

• 'BEASTARS': Controlled delays in the mouth, cheeks, and eyeballs ensure "acting viscosity." Tool innovations are also disclosed.Polygon

• 'Lupin III THE FIRST': Avoided excessive photorealism, prioritized deformation to preserve the IP's "pleasure of lines."Los Angeles Times

• 'Berserk (2016)': Mismatches in camera, motion, and texture invited the "valley," diminishing the work's appeal with visual noise.Wikipedia

• 'EX-ARM': The disconnect between pre-production and CG direction clashed with a "live-action mindset," leading to a collapse in quality.Crunchyroll

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