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V3 also added adaptive speed control. Rather than blindly holding at 16x, the script monitors the audio element’s buffered time ranges to assess buffer health. If the buffer ahead of the playback position is shrinking (meaning the network can’t keep up with the decode speed), the playback rate is reduced to give the fetcher time to catch up. If the buffer is healthy and growing, the rate is nudged back up. This prevents the browser from stalling entirely on slow connections, which would previously break the ended event trigger and leave you waiting forever.
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.