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 <P>First of all, I&#146;d like to point out that when color cycling does work, it&#146;s a thing of beauty. Assemble Listing 34.1 so that it doesn&#146;t use the BIOS to load the DAC, doesn&#146;t guard against interrupts, and uses 286-specific instructions if your computer supports them. Then tinker with <B>CYCLE_SIZE</B> until the color cycling is perfectly clean on your computer. Color cycling looks stunningly smooth, doesn&#146;t it? And this is crude color cycling, working with the default color set; switch over to a color set that gradually works its way through various hues and saturations, and you could get something that looks for all the world like true-color animation (albeit working with a small subset of the full spectrum at any one time).</P>
 <P>Given that, how can we take advantage of color cycling within the limitations of loading the DAC? The simplest approach, and my personal favorite, is that of cycling a portion of the DAC while using the rest of the DAC locations for other, non-cycling purposes. For example, you might allocate 32 DAC locations to the aforementioned sunset, reserve 160 additional locations for use in drawing a static mountain scene, and employ the remaining 64 locations to draw images of planes, cars, and the like in the foreground. The 32 sunset colors could be cycled cleanly, and the other 224 colors would remain the same throughout the program, or would change only occasionally.</P>
 <P>That suggests a second possibility: If you have several different color sets to be cycled, interleave the loading so that only one color set is cycled per frame. Suppose you are animating a night scene, with stars twinkling in the background, meteors streaking across the sky, and a spaceship moving across the screen with its jets flaring. One way to produce most of the necessary effects with little effort would be to draw the stars in several attributes and then cycle the colors for <I>those</I> attributes, draw the meteor paths in successive attributes, one for each pixel, and then cycle the colors for those attributes, and do much the same for the jets. The only remaining task would be to animate the spaceship across the screen, which is not a particularly difficult task.</P>
-<TABLE WIDTH="100%"><TD VALIGN="TOP" ALIGN="LEFT" WIDTH="5%"><IMG SRC="images/34-02i.jpg"><TD VALIGN="TOP" ALIGN="LEFT" WIDTH="95%"><SMALL><I>The key to getting all the color cycling to work in the above example, however, would be to assign each color cycling task a different part of the DAC, with each part cycled independently as needed. If, as is likely, the total number of DAC locations cycled proved to be too great to manage in one frame, you could simply cycle the colors of the stars after one frame, the colors of the meteors after the next, and the colors of the jets after yet another frame, then back around to cycling the colors of the stars. By splitting up the DAC in this manner and interleaving the cycling tasks, you can perform a great deal of seemingly complex color animation without loading very much of the DAC during any one frame.</I></SMALL>
+<TABLE WIDTH="100%"><TD VALIGN="TOP" ALIGN="LEFT" WIDTH="5%"><IMG SRC="images/i.jpg"><TD VALIGN="TOP" ALIGN="LEFT" WIDTH="95%"><SMALL><I>The key to getting all the color cycling to work in the above example, however, would be to assign each color cycling task a different part of the DAC, with each part cycled independently as needed. If, as is likely, the total number of DAC locations cycled proved to be too great to manage in one frame, you could simply cycle the colors of the stars after one frame, the colors of the meteors after the next, and the colors of the jets after yet another frame, then back around to cycling the colors of the stars. By splitting up the DAC in this manner and interleaving the cycling tasks, you can perform a great deal of seemingly complex color animation without loading very much of the DAC during any one frame.</I></SMALL>
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