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This time, before we perturb the input image, we take the value given by the threshold matrix and divide it by , where is the number of levels for each colour component. As a result, each pixel is perturbed just enough to cover the minimal distance between two colours in the palette. Since the entire palette is evenly distributed across colour space, we only need to modify the range of perturbation along each axis. The dithering equation then becomes:
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"We're basically turning history into habitat, and as far as we know, no-one has attempted anything quite like this before."
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There’s often an undercurrent of existential fatigue in games that look back at their legacy. Dark Souls III’s dying kingdom, Metal Gear Solid 4’s decrepit Snake. So when Capcom showed us an ageing Leon Kennedy entering the ruins of the police station that marked the start of his journey from rookie cop to hardened veteran, it felt tinged with ennui as much as nostalgia. That self-reflective swansong for this 30-year series may still happen one day, but Requiem isn’t it. Even at its dourest and most pensive, this is less a song for the dead, more a knees-up in honour of the rocket launchers and typewriters that came before. Leon may be getting on a bit, but this is Capcom as energised, devious and goofy as ever.
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