During the second half of the 1980s, the name Ocean Software became almost unavoidable for British computer owners. Its blue logo appeared on arcade conversions, movie adaptations, original games, and some of the most commercially important releases for machines such as the ZX Spectrum and Amstrad CPC. Behind those games was a relatively small collection of programmers, artists, musicians, and producers working under deadlines that would seem almost impossible by modern standards.
Among them was Andrew Deakin, a programmer whose name became particularly associated with Ocean’s 8-bit conversions. Working for years alongside graphic artist Ivan Horn, Deakin helped transform arcade machines and major entertainment licenses into games that could run within the severe limitations of home computers.
His credits included Athena, Combat School, Operation Wolf, Rambo III, Renegade III: The Final Chapter, Operation Thunderbolt, RoboCop 2, Total Recall, and The Addams Family. His later credits also reached Nintendo hardware through projects such as Parasol Stars for the Game Boy and Dennis the Menace for the Super Nintendo.
Yet Deakin’s story did not begin inside a major software company. It began with two school friends in Devon learning what could be accomplished with inexpensive British home computers.
Andrew Deakin and Ivan Horn
Deakin’s career is difficult to separate from that of Ivan Horn. The two knew one another from school in Devon and became interested not only in playing computer games but eventually in creating them. Horn later recalled that they played games on their Spectrums and spent time in arcades before deciding they wanted to make games themselves.
The partnership naturally divided according to their developing skills. Deakin concentrated on programming while Horn became the graphics artist. It was a working relationship that would survive their transition from small budget releases into one of Britain’s largest software houses.
Their earliest commercial work came during the era when the British games market was filled with low-cost cassette releases. Labyrinthion, published in 1986, is among their earliest documented games. Deakin handled the programming while Horn produced the graphics. The game placed the player in a large maze consisting of hundreds of rooms and required exploration, combat, and the collection of pieces of a magical scroll. Contemporary and surviving credit records associate both men with the project.
Another early project was Mega-Bucks, released through Firebird’s budget range in 1986. The game sent a young heir through an eccentric relative’s mansion in search of a hidden fortune. Your Sinclair reviewed it favorably in early 1987, praising its playability and value despite similarities to other arcade adventures of the period. Surviving records again credit Deakin with programming and Horn with graphics.
These games were important steps, but they were not making the pair much money. Horn later recalled that he and Deakin had produced budget software for companies including Budgie, Firebird, and Mastertronic, but the income was limited. They began approaching larger software companies in search of stable employment.
That decision eventually took them north to Manchester and Ocean Software.
Joining Ocean Software
Ocean was exactly the sort of company that could transform the careers of young British developers during the 1980s. Founded by David Ward and Jon Woods, the Manchester company had grown into a major developer and publisher by combining original games with a particularly aggressive pursuit of film, television, and arcade licenses.
The company’s acquisition of the Imagine name gave it another recognizable label for arcade conversions, while relationships with companies such as Konami and Taito provided access to valuable coin-operated games. By the time Deakin and Horn arrived around 1987, Ocean was becoming one of the dominant names in British home-computer software.
Ocean’s Central Street operation in Manchester was far removed from the enormous studios that would define game development decades later. Former employees remembered a young staff working in an industry that was still inventing its own rules. Programmers and artists often operated as small teams, and the division between Deakin and Horn fit that structure almost perfectly. Deakin could concentrate on making the game function while Horn translated arcade graphics, film imagery, and character designs into forms that could survive the limitations of 8-bit machines.
Their partnership soon became attached to increasingly important projects.
Athena and Combat School
One of Deakin’s first notable Ocean-era credits was the ZX Spectrum conversion of SNK’s Athena. The surviving instructions provide unusually clear evidence of who did what. They state that the game was written by Andrew Deakin, with graphics by Ivan Horn, music by Martin Galway, and production by D. C. Ward.
The project was followed by Combat School, based on Konami’s arcade game. Deakin shared programming duties on the Spectrum conversion with Mike Lamb, while Horn again worked on the visuals. The game recreated a series of military training events and then moved into more conventional action sequences.
The conversion was well received. Contemporary CRASH coverage credited Deakin and Lamb as its authors and awarded the game 93 percent. It was an early indication that Deakin could handle the difficult work of reducing a much more powerful arcade experience to the Spectrum without losing the basic qualities that made the original recognizable.
That skill would soon be tested far more severely.
The Challenge of Operation Wolf
Taito’s Operation Wolf was designed around spectacle. The arcade cabinet placed a gun in the player’s hands and filled the screen with soldiers, vehicles, explosions, civilians, ammunition, and hostages. Translating that experience to a ZX Spectrum presented an obvious problem. The home computer possessed nowhere near the arcade hardware’s resources, and the physical gun itself was fundamental to the attraction of the original.
For Deakin, the task became one of recreating the feeling of the arcade game rather than attempting an impossible one-to-one copy.
Ocean had access to an Operation Wolf arcade machine while the conversion was being developed. Contemporary reporting described the developers playing the machine and videotaping sections of gameplay so that the footage could be studied during development. Deakin and Horn could therefore examine how enemies appeared, how the screen moved, and how the original game maintained its relentless pace.
Deakin also used an Atari ST as part of Ocean’s development system rather than assembling the entire project directly on the Spectrum. He explained at the time that the more powerful computer could assemble the game’s large body of source code rapidly while leaving the Spectrum’s limited memory available for the game itself. The surviving contemporary coverage even records Deakin describing source code of around 150K being assembled on the ST in roughly thirty seconds.
The final credits were another example of the small-team structure that defined much of Ocean’s 8-bit development. Deakin handled Spectrum and Amstrad coding, Horn created the graphics, Jonathan Dunn supplied music and sound effects, and D. C. Ward produced the game. The original instructions preserve those credits directly.
What emerged was one of Deakin’s defining games.
The Spectrum version managed to preserve the constant flow of enemies and the sense that the player was fighting through a moving battlefield. Contemporary reviews were highly favorable. CRASH gave Operation Wolf 91 percent and awarded it the magazine’s “CRASH Smash” designation. The game also became an important commercial success for Ocean, reaching the top of the British charts during the Christmas 1988 period.
For a programmer whose earlier work had appeared on inexpensive budget tapes, the leap was considerable. Within only a few years, Deakin had gone from developing small Spectrum games with a school friend to coding one of the country’s most prominent arcade conversions.
What Andrew Deakin Admired in Other Games
The surviving magazines also provide a rare glimpse of Deakin as a player rather than simply as a programmer.
In 1988, CRASH asked developers to name games and programmers they particularly admired. Deakin selected Cobra, Knight Lore, and Lightforce among his favorite Spectrum titles. His comments emphasized qualities such as playability, impressive scrolling, and technical accomplishment.
His choice for most admired programmer was Jonathan Smith, whose work he praised for consistently combining playability with strong scrolling.
Those preferences are revealing because many of the same problems appeared in Deakin’s own work. Smooth movement, crowded screens, scrolling backgrounds, responsive controls, and the need to preserve playability while pushing limited hardware became recurring challenges throughout his Ocean career.
Rambo III and Renegade III
Following Operation Wolf, Deakin and Horn moved to another major licensed property, Rambo III.
The original game instructions again provide direct documentation of the development team. Andrew Deakin was credited as programmer, Ivan Horn supplied the graphics, Jonathan Dunn created the music and sound effects, and D. C. Ward served as producer.
Unlike Operation Wolf, Rambo III divided its action among several styles. The player searched a compound, fought enemies, and eventually entered shooting sequences inspired by the film. Contemporary reviewers recognized Deakin as the game’s author, although its reception was less enthusiastic than that of his previous arcade conversion.
Deakin and Horn then worked on Renegade III: The Final Chapter for the Imagine label. Rather than simply reproducing the urban street fighting of earlier Renegade games, the sequel sent the player through different historical periods. Prehistoric enemies and other deliberately unusual settings gave Horn opportunities for more imaginative visuals while Deakin adapted the familiar fighting mechanics to a much stranger premise.
CRASH regarded the result as a return to form and awarded the game 91 percent. Contemporary coverage explicitly associated Deakin and Horn with the project.
By this point, their names had become familiar enough that readers themselves recognized the people behind Ocean’s games. One CRASH reader ranking Ocean personnel in 1989 placed Deakin second among the company’s programmers, citing Operation Wolf, Combat School, and Rambo III. It was only one reader’s opinion, but it illustrates something that can be easy to forget about the British computer press of the period. Programmers were becoming recognizable personalities to dedicated players.
Returning to Taito with Operation Thunderbolt
Deakin soon returned to Taito’s shooting games with Operation Thunderbolt, the sequel to Operation Wolf.
Once again, the familiar team structure appeared. Surviving Amstrad documentation credits Andrew Deakin with programming, Ivan Horn with graphics, Jonathan Dunn with music and effects, and Gary Bracey as producer.
The project presented another difficult conversion problem. Operation Thunderbolt expanded upon its predecessor with movement into the screen and a more elaborate sense of depth. Contemporary Sinclair User coverage identified Deakin as the author of the Spectrum conversion and explicitly compared the challenge to the earlier doubts surrounding Operation Wolf.
The significance of these conversions was not simply that they reproduced successful arcade names. They showed how the British home-computer industry operated through interpretation. Deakin could not give Spectrum owners the original Taito hardware, arcade cabinet, or processing power. His job was to identify which parts of the experience mattered most and then construct an illusion convincing enough to work on vastly less capable equipment.
RoboCop 2 and a More Complicated Game
By 1990, Deakin and Horn were working on RoboCop 2, another major Ocean film license.
The project demonstrated how much more complicated their work had become. A contemporary Your Sinclair interview identified Deakin as the code programmer and Horn as the graphic artist while discussing technical problems such as eight-way scrolling, sprite movement, and Deakin’s involvement in the game’s design. The article also connected the pair to their earlier work on Operation Wolf, Operation Thunderbolt, Combat School, and Rambo III.
The finished game mixed several different forms of play rather than relying upon a single repeating action. Its main sections placed RoboCop inside scrolling environments, while other sequences broke up the platform action.
The Spectrum version received particularly strong contemporary attention. Your Sinclair argued that the sequel improved upon the original game through larger stages, freer movement, greater variety, and polished presentation.
The Amstrad version and the GX4000 release also preserve Deakin’s programming credit alongside Horn’s graphics and Matthew Cannon’s music and sound.
For Deakin, RoboCop 2 represented something more than another movie adaptation. It showed the progression from the comparatively straightforward maze and arcade games of his early career into increasingly complex projects where scrolling systems, animation, level design, film material, and hardware restrictions all had to be balanced simultaneously.
The Emergency Development of Total Recall
One of the most remarkable stories attached to Deakin’s Ocean career concerns Total Recall.
Ocean had licensed the Arnold Schwarzenegger film and expected the game to become a major Christmas release. Development, however, became troubled. A version being produced outside Ocean failed to progress as expected, and the project eventually required intervention.
Artist Simon Butler later recalled the crisis in detail. According to Butler, a rescue team was assembled from Ocean personnel and selected members of the outside development group when it became apparent that the project was in danger of missing its deadline.
Butler remembered John Meegan and Andrew Deakin coding the replacement Commodore 64 version in only two weeks. The Spectrum and Amstrad versions were also completed under extraordinary time pressure. The released games nevertheless reached the market and Total Recall became a Christmas number one. Because Butler’s account was recorded years after the development, individual details should be treated as retrospective testimony, but it provides an unusually vivid firsthand description of the deadlines facing Ocean’s developers.
The story helps explain why programmers like Deakin were valuable to a company built around licenses and fixed release dates. Programming ability mattered, but so did the capacity to enter a troubled project, understand existing hardware and tools immediately, and produce something commercially usable before the marketing window disappeared.
The Addams Family and the End of the 8-Bit Era
By the early 1990s, the market that had produced Deakin’s career was changing rapidly.
The ZX Spectrum and Amstrad CPC were aging, while consoles such as the Game Boy and Super Nintendo represented the industry’s future. Ocean itself was expanding across a much broader range of hardware.
One of Deakin and Horn’s final major projects for the old 8-bit machines was The Addams Family, based on the 1991 film. The surviving instructions again document the team clearly, crediting programming to Andrew Deakin, graphics and design to Ivan Horn, music to Jonathan Dunn, and production to Jon Woods.
Contemporary CRASH coverage in 1992 also identified Deakin and Horn with the Spectrum version.
The project effectively stood at the boundary between two eras. Deakin and Horn had spent years learning how to make games fit the Spectrum and CPC. Now developers around them were moving toward machines that offered larger palettes, more memory, dedicated console hardware, and visual possibilities that had been unimaginable when the pair began producing budget Spectrum software.
Their own work moved in that direction as well.
From the Spectrum to Nintendo
Deakin’s surviving credits show that his programming career extended beyond the classic Spectrum period.
The 1992 Game Boy version of Parasol Stars: The Story of Bubble Bobble III credits Andrew Deakin with programming, Ivan Horn with graphics, and Jonathan Dunn with music and sound effects. Significantly, the preserved credit information was contributed to MobyGames by Horn himself.
The familiar partnership had therefore crossed from British home computers into Nintendo’s handheld market.
In 1993, Deakin received the programming credit for the Super Nintendo version of Dennis the Menace. Horn remained involved in background, map, Mode 7, and presentation design alongside other Ocean artists, while Gary Bracey served as producer.
The move illustrates how quickly the industry was changing. Deakin had begun by squeezing games onto cassette-based 8-bit computers and had developed some of his most famous work for machines with severe memory, color, and processing restrictions. Only a few years later, he was programming for a 16-bit Nintendo console capable of hardware scrolling, larger sprites, richer sound, and graphical effects that Spectrum programmers once had to imitate through carefully constructed software tricks.
The surviving public credit record becomes thinner after this period, so it would be unsafe to assume that his work in games necessarily ended with these projects. What can be documented is a career that crossed one of the most important technological transitions in British video game history.
More Than a List of Conversions
Andrew Deakin is not as widely recognized as many designers and programmers whose names later became synonymous with major franchises, but his work represents a crucial part of how the video game industry developed during the 1980s.
Many of the games he programmed were conversions. That term can sound secondary, as though conversion simply meant copying an existing game from one machine to another. On 8-bit hardware, it was nothing of the sort.
An arcade game might possess specialized graphics hardware, more memory, faster processors, elaborate controls, and dedicated sound capabilities. A programmer such as Deakin had to decide what could be preserved, what needed to be simplified, and what had to be reinvented completely. Every sprite competing for memory, every scrolling background, every enemy appearing on screen, and every additional gameplay system created another problem.
Operation Wolf is perhaps the clearest example. Taito had built an arcade attraction around a physical gun and dedicated hardware. Deakin’s Spectrum conversion replaced that experience with a cursor controlled through keys or joystick, yet retained enough of the speed, enemy movement, resource management, and constant shooting to become one of Ocean’s most successful releases. The original documentation confirms just how small the core team responsible for that transformation actually was.
That pattern continued through Operation Thunderbolt, RoboCop 2, The Addams Family, and the other games carrying his name.
The Deakin and Horn Partnership
Perhaps the most distinctive part of Deakin’s career was its consistency.
Again and again, the same names appear together. Andrew Deakin programmed. Ivan Horn created graphics. Jonathan Dunn frequently supplied music and sound. Ocean producers such as D. C. Ward, Gary Bracey, and Jon Woods coordinated the projects.
Deakin and Horn’s partnership, however, predated Ocean itself. They had known each other since school, experimented with game creation in Devon, produced budget software together, sought employment together, moved into professional development, and continued working alongside each other through the transformation from Spectrum games to Nintendo hardware. Horn later described Deakin as the coding partner with whom he worked for most of his time at Ocean.
That makes their story valuable beyond the individual games.
The popular image of 1980s game development often focuses on the solitary bedroom programmer. Deakin and Horn came from that small-scale environment, but their career shows the next stage of the industry’s development. The bedroom era was becoming professionalized. Friends who had once created budget cassette games could move into companies such as Ocean, receive valuable arcade and film licenses, use dedicated cross-development systems, and ship products to an international market.
Yet the teams remained small enough that individual programmers and artists still left recognizable fingerprints on the finished games.
Why Andrew Deakin Matters to Video Game History
Andrew Deakin’s career captures a period when video game development was changing almost faster than its programmers could follow.
He entered the industry when inexpensive Spectrum games could still be created by two friends working with limited tools. Within a few years he was helping Ocean convert some of the most recognizable arcade games in the world. He worked on film licenses involving Rambo, RoboCop, Total Recall, and The Addams Family. He helped bring Taito’s Operation Wolf and Operation Thunderbolt to home computers, worked through the final years of Britain’s 8-bit market, and eventually appeared in the credits of Nintendo games.
The technology changed, but the central challenge remained the same. A programmer was given an idea that existed somewhere else, perhaps in an arcade cabinet, a movie theater, or another computer, and asked to make it work on the machine sitting in front of him.
Deakin became particularly good at that work.
Today, the games themselves preserve part of his history, but the contemporary magazines, instruction manuals, interviews, and recollections of his colleagues reveal something more important. They show the people behind an era when a handful of programmers and artists could be responsible for translating blockbuster entertainment onto machines with only a fraction of the capabilities of the originals.
For players who loaded Operation Wolf, Combat School, Rambo III, Operation Thunderbolt, RoboCop 2, or The Addams Family from cassette, Andrew Deakin’s name may have been only a line in the instructions or a credit mentioned in a magazine.
His code was the part they actually played.
Sources & Further Reading
CRASH. “Programmers on Programmers.” Issue 59, Christmas 1988. Interview with Andrew Deakin. https://crashonline.org.uk/59/progrmrs.htm
Your Sinclair. “Robo-Creators.” Issue 59, November 1990, 86–87. Interview with Andrew Deakin and Ivan Horn. https://computerandvideogaming.co.uk/wp-content/uploads/YS/YS59.pdf
Sinclair User. “Operation Wolf.” Issue 76, July 1988, 82–83. Development feature with Andrew Deakin and Ivan Horn. https://worldofspectrum.org/archive/magazines/sinclair-user/76
Your Sinclair. “Operation Wolf.” Issue 31, July 1988, 59. Preview and development comments from Andrew Deakin. https://worldofspectrum.org/archive/magazines/your-sinclair/31/0/1988/7/0
CRASH. “Operation Wolf.” Issue 54, July 1988, 110. Preview. https://crashonline.org.uk/54/index.htm
CRASH. “Operation Wolf.” Issue 59, Christmas 1988, 18–19. https://crashonline.org.uk/59/op_wolf.htm
Ocean Software. Operation Wolf Instructions. 1988. https://uta.pokefinder.org/Ultimate_Tape_Archive/Biz%2C_The_%281988_Ocean_Software_Ltd%29_%5B11664%5D/Extras/Instructions.pdf
CRASH. “Combat School.” Issue 48, Christmas 1987. https://www.crashonline.org.uk/48/combatschool.htm
CRASH. “Athena.” Issue 45, October 1987. https://www.crashonline.org.uk/45/index.htm
Imagine Software. Athena Instructions. 1987. https://www.gamesdatabase.org/Media/SYSTEM/Sinclair_ZX_Spectrum/Manual/formated/Athena_-_1987_-_Imagine_Software.htm
CRASH. “Labyrinthion.” Issue 31, August 1986, 108. https://www.zx-spectrum-archive.uk/magazines/49-crash/issues/1507-31
Ocean Software. Rambo III Manual. 1988. https://www.gamesdatabase.org/Media/SYSTEM/Amstrad_CPC/Manual/formated/Rambo_III_-_1988_-_Ocean_Software_Ltd..pdf
CRASH. Ocean Software visit. Issue 62, March 1989, 98. https://crashonline.org.uk/62/index.htm
CRASH. “Renegade III: The Final Chapter.” Issue 64, May 1989, 16–17. https://crashonline.org.uk/64/renegade3.htm
CRASH. “Forum.” Issue 64, May 1989, 20. https://crashonline.org.uk/64/forum.htm
Sinclair User. “Operation Thunderbolt.” Issue 94, January 1990, 102–3. https://www.zx-spectrum.cz/zxsr/zxsr.php?id=3532&mag=3
Génération 4. “Operation Thunderbolt.” No. 14, September 1989. Preserved by CPC-Power and CPCRulez. https://cpcrulez.fr/GamesTest/operation_thunderbolt.htm
Amiga Action. News coverage of RoboCop II. Issue 11, August 1990.
CRASH. “The Addams Family.” Issue 98, April 1992, 15. https://www.crashonline.org.uk/98/addams.htm
Your Sinclair. “The Addams Family.” Issue 77, May 1992, 15.
Ocean Software. The Addams Family Instructions. 1992. https://www.lemon64.com/doc/addams-family/34
The Ocean Experience. “Ivan Horn & Andrew Deakin.” Flickr photographic archive. Accessed October 27, 2026. https://www.flickr.com/photos/theoceanexperience/albums/72157611176058807/
Commodore Free. Ocean Software retrospective. Issue 62, 2012. https://www.retrotime.hu/wp-content/uploads/2012/07/issue62.pdf
McFerran, Damien. “Sacred Spaces: Ocean Software’s Central Street HQ, Manchester, England.” Time Extension. Accessed October 27, 2026. https://www.timeextension.com/features/sacred-spaces-ocean-softwares-central-street-hq-manchester-england?page=2
Reive, Neil. Amstrad CPC Dev Q&A. Interview material with Ivan Horn. https://www.two-mag.com/cpc/ACME/LITTERATURE/LIVRES/%5BENG%5DENGLISH/NEIL_REIVE/Arnold2_AMSTRAD_CPC_DevQ_and_A%28Neil_REIVE%29.pdf
RetroInvaders. Interview with James Higgins. Accessed October 27, 2026. https://retroinvaders.com/index.php/es/all/4896
RetroInvaders. Interview with John Brandwood. Accessed October 27, 2026. https://retroinvaders.com/index.php/es/145241/si-programas-para-un-ordenador-moderno-te-pierdes-parte-de-la-diversion-de-los-primeros-tiempos-cuando-se-trabajaba-con-maquinas-mas-sencillas-entrevista-a-john-brandwood
Retro Gamer. “The Making of Renegade III.” Issue 180. https://datassette.s3.us-west-004.backblazeb2.com/revistas/retrogamer_180.pdf
Wilkins, Chris, and Roger M. Kean. The History of Ocean Software. Fusion Retro Books. https://fusionretrobooks.com/products/the-history-of-ocean-software
Games That Weren’t. “Total Recall V1.” Includes recollections by Simon Butler. Accessed October 27, 2026. https://www.gamesthatwerent.com/gtw64/total-recall-v1/
Centre for Computing History. “Andrew Deakin.” Games catalogue. Accessed October 27, 2026. https://www.computinghistory.org.uk/cgi/archive.pl?author=Andrew+Deakin&type=Games
Centre for Computing History. “Ocean Software.” Company history. Accessed October 27, 2026. https://www.computinghistory.org.uk/pages/cache/FULL-57894.htm
Centre for Computing History. Ocean Software Amstrad CPC collection. Accessed October 27, 2026. https://www.computinghistory.org.uk/cgi/archive.pl?platform=Amstrad+CPC464&publisher=Ocean&type=Games
Code Like It’s 198x. “Andrew Deakin.” Accessed October 27, 2026. https://code198x.com/vault/people/andrew-deakin/
MobyGames. “Andrew Deakin.” Accessed October 27, 2026. https://www.mobygames.com/person/117732/andrew-deakin/
MobyGames. “Labyrinthion.” Accessed October 27, 2026. https://www.mobygames.com/game/18451/labyrinthion/
MobyGames. “Parasol Stars: The Story of Bubble Bobble III: Game Boy Credits.” Accessed October 27, 2026. https://www.mobygames.com/game/7696/parasol-stars-the-story-of-bubble-bobble-iii/credits/gameboy/
MobyGames. “Dennis the Menace: SNES Credits.” Accessed October 27, 2026. https://www.mobygames.com/game/13239/dennis-the-menace/credits/snes/
MobyGames. “Total Recall.” Accessed October 27, 2026. https://www.mobygames.com/game/13122/total-recall/
CPC History. “Total Recall.” Accessed October 27, 2026. https://www.cpc-history.com/game/total-recall
GX4000.co.uk. “RoboCop 2.” Accessed October 27, 2026. https://gx4000.co.uk/gamebase/games.php?game=robocop2
CPCRulez. “Operation Thunderbolt.” Accessed October 27, 2026. https://cpcrulez.fr/GamesTest/operation_thunderbolt.htm
Retro Gamer. Book of Arcade Classics. “Operation Thunderbolt.” https://www.coinopstuff.com/manuals/retro-gamer-book-of-arcade-classics.pdf
Retro Gamer. “Firebird Budget Games.” Issue 283. Pocketmags. https://pocketmags.com/retro-gamer-magazine/issue-283/articles/firebird-budget-games
Gaming Alexandria. “Green Lantern Art Assets (SNES).” September 2019. https://www.gamingalexandria.com/wp/2019/09/green-lantern-art-assets-snes/