Perhaps it might be a good idea to go back to basics. There are two aspects to this issue. One is to acknowledge what the force is and how it originates. Second to see how it manifests itself on a record deck.
While we might call the process anti-skating, or biasing, or whatever, the force which pulls the arm inwards is not specific to tonearms. It can apply in any situation where there are two forces opposing each other.
To illustrate the simple example of a linear tracker. (Those of you with linear trackers can start practising your smug grin.)
Say you hold one end of a short rope. You are the Tonearm Bearing. You put a conical blob of blutak in the middle of the rope - the Stylus. Your wife holds the other rope end. She is Friction.
Friction acts on the Stylus by pulling it along the groove in a direction directly opposed to the Tonearm bearing. It reacts by holding on and pulling back. The rope is straight. The Stylus remains unmoving in the middle. As friction moves to the side, Tonearm bearing follows every move (hopefully).
Now a Pivoted arm:
Friction takes a different tack. She pulls at an angle. Tonearm Bearing reacts against Friction. It is immovable. It holds on to the Stylus. but the rope wants to straighten, and Stylus is pulled sideways and will skate , unless......
Help arrives. Another pal called VTF, stands on the Stylus. now Friction pulls even harder to try and pull Stylus sideways. She is on the point of moving Stylus when yet another pal, Anti-skate, comes in and pulls the Stylus in the opposite direction which stops the rope straightening, just enough to stop the Stylus moving, without pulling it too far.....
Ok, this is simplistic, but relevant. First, note that we have no mention of cartridges, only the stylus which is simply the name for a point on our rope. The angle we talk about is the angle formed by a line from pivot to stylus and stylus to groove. Which is not quite the same thing as cartridge offset.
Forget about cartridge offset for the moment and just imagine your arm with no cartridge, just a sewing needle on the end where the stylus would be, and then follow its arc on a record. Follow it beyond the inner groove, beyond the label, beyond the spindle, and out the other side. See how the angle between pivot, needle, and groove changes. Think of the rope story and in what direction the arm will be pulled by groove friction acting on the needle. The angle changes towards the centre not varying much, but under 7cm radius, the closer to the spindle it gets the greater it becomes, until the point at which arm pivot, spindle, and stylus form a straight line, when it is a right angle..
That is the basis of the anti-skate issue. Does it exist as a force. It exists, yes, it definitely does. But why some people prefer no anti-skate, that is for them to say. My arms had an anti-skate mechanism, using lever and thread, which allowed for varying the force, and the ratio to some extent across the record, or it could be removed completely. But it was not any more sophisticated than that (It could even have been used to apply a reducing force like the Morsiani, though I am not aware anyone ever did, and not a negative anti-skate as in their example of the blank disc; there's something wrong there - wire drag, perhaps).
It would be possible to design a cam system given different leverages so as better to follow the average variation, though not the instantaneous.
Whether you can adjust for it totally and in every way, I doubt. As there are many other factors involved in the friction calculation. Some people are more sensitive to its effects than others. Personally, I always tried to compensate for it. I was concerned with its effects on imaging, soundstage etc.
