Even more so when facial animation in stop-motion uses internal mechanisms, converging art, entertainment, and science. This common language of the three techniques offers contributions towards the emotional response problems faced by robotics and entertainment with animatronics. Although cartoon animation is also synonymous with two-dimensional animation as a technique, since Fleischer and Disney it is aesthetically perspectivist, anticipating in decades the visual paradigm of computer graphics and always having parallels in the stop-motion of puppets. In isolation, each field has given its steps, but the longest and most successful experience in achieving sympathy is undoubtedly the synthetic language of cartoon animation also present in puppet animation. Whatever the field of study and application, the main concern about the face remains the emotional response of moviegoers, video game players or people in the presence of automats, animatronics, and androids. Today facial animation reaches a broad spectrum: from visual to physical, in visual effects (VFX), games, animatronics, robotics, machine vision and forensic science.
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