Diablo for loners: the story behind indie-hit Torchlight

Creating a new entry in the world of Diablo-style loot-fests that sticks to single-player may seem mad in this day and age, but Torchlight from Runic Games manages to pull it off. We discuss where the game came from, where it’s going, and why it deserves the buzz coming from all corners of the Internet.

By Ben Kuchera

Sometimes it seems like your friends list on Steam is completely taken over by a game, and right now PC gamers are enamored with a new, $20 take on the Diablo formula called Torchlight. This is a game with bright, attractive graphics, enough looting to satisfy fans of new equipment and weaponry, and… no multiplayer? Ars Technica caught up with Wonder Russell, the “Minister of Culture” for Runic Games, to explore what makes this game so special.

From the ashes…

The first question was a simple one: why ship a top-down loot fest such as Torchlight without multiplayer? The answer goes back to how Runic Games formed, and where the game is headed, along with an interesting culture at the developer that rewards playability. It starts with the closure of Flagship Studios, and the subsequent loss of all the IP that developer was working on. In the case of the team that would become Runic Games, they lost Mythos, a free-to-play MMO, right before it went into open beta.

“To lose a game you’ve worked on for years like that is heartbreaking, so first priority for us as a new team was simple: ship a game,” Russell explained. The founders of the company had worked on both Diablo and Fate, so they knew this genre inside and out—it was a natural fit. Sticking to single-player meant that they could focus on one thing and deliver it with a high degree of polish.

So they wanted something fast, in the vein of Diablo, but it had to be good. Those requirements rarely add up to anything worthwhile, but the strategy for creating the game left a lot of room for iteration. “The MO at Runic is to ‘always have a playable build.’ The game has been essentially playable weeks after its inception, and so everyone can play and comment and tweak—we have constant, daily iterations of the game, so playtesting really began a year ago and has only ramped up since then with our hardworking QA team,” Russell told Ars. They also invited the friends and family of the developers to come in and play to make sure the game was fun for the more casual fans. The goal was simple: to make the game fun to play, even if that meant focusing on single-player.

Torchlight should have quite the future ahead of it. “We are making an MMO version, due out in about two years. Torchlight with a co-op would be fun, but it just wasn’t feasible in our initial dev cycle, and even if we could add it at this point, we’d essentially be competing with our own game.”

Digital distribution makes life easier for indies

When it came to distribution, Runic cast the net wide. “We basically approached all the usual suspects—Steam, Direct2Drive, etc, and began setting up those partnerships and agreements,” Russell said. “There is definitely an ease-of-use and approachability with digital downloads that is a huge help to the indie developer, but getting the word out there that you have a game for sale that’s a lot of fun to play is always going to be the trickiest part of the business, especially for a small company like ours, with zero marketing budget.”

Luckily, the community around the game has done quite the job of evangelizing for them; a thread in our own forum has resulted in many buying the $20 game. That price point—and the low requirements—weren’t an accident. “The price point was really set with the idea of making Torchlight as widely available as possible, which we extend to our settings too; we don’t use shaders, and have optimized the game to even run on a netbook,” Russell explained. “We want your granny to be able to play if she wants to!” The game features three character classes, with around 20 hours of gameplay for each play-through.

That 20-hour mark is somewhat misleading, however. After you beat the game the first time, you unlock a never-ending dungeon as well as more quests to help you get to the level 100 cap. You’ll also be able to enchant an item and pass it on to your “descendant,” the next character you play with. Shared stashes allow you to pass items from one character to another; while you play with one character, you can be looting for everyone. “That way, if you are playing a melee character and find a great gun, you can keep it in the shared stash for your ranged character, rather than selling it,” Russell told Ars.

“We’ve made Torchlight to have extremely high replayability, the randomized dungeons, help too.” He also notes that they’re releasing the complete set of developer tools used to create the game itself. “We know the modding community is going to go crazy, and folks will be able to play with tons of new content, levels, monsters, and more.”

But is the game good?

In a word: yes. The addiction grabs you very quickly, and the ability to share loot as well as level your in-game pet go a long way to making this a very inviting game with a fair amount of challenge in the higher levels. The replayability is also very high, and the $20 price tag puts it into the realm of an impulse buy.

If you’re a fan of the genre, there really is no excuse not to pick this one up, and my mouse-finger is already itching to play more. It can be a lonely experience at times, but by sticking to what it knew and leveraging the best of PC gaming, Runic Games has created a high-quality title that’s worth the buzz. This is a keeper.

Follow the link for a Video clip of game play – http://arstechnica.com/gaming/news/2009/11/diablo-for-loners-the-story-behind-indie-hit-torchlight.ars

World’s largest cruise ship sets sail

Oasis of the Seas features 2,700 cabins, can accommodate 6,300 passengers

HELSINKI – The world’s largest cruise liner on Friday began its maiden voyage to Florida, gliding out from a shipyard in Finland with an amphitheater, basketball courts and an ice rink on board.

The 16-deck Oasis of the Seas spans 1,200 feet (360 meters) from bow to stern. Its 2,700 cabins can accommodate 6,300 passengers and 2,100 crew.

Commissioned by Royal Caribbean International, the ship cost $1.5 billion and took two and a half years to build at the STX Finland Oy shipyard in Turku, southwestern Finland.

The liner has four swimming pools, volleyball and basketball courts, and a youth zone with theme parks and nurseries for children. There is also an ice rink that seats 780 spectators and a small-scale golf course

It features various “neighborhoods” — parks, squares and arenas with special themes. One of them will be a tropical environment, including palm trees and vines among the total 12,000 plants on board. They will be planted after the ship arrives in Fort Lauderdale.

In the stern, a 750-seat outdoor theater — modeled on an ancient Greek amphitheater — doubles as a swimming pool by day and an ocean front theater by night. The pool has a diving tower with spring boards and two 33-feet (10-meter) high dive platforms. An indoor theater seats 1,300 guests.

Accommodation includes loft cabins measuring 545 square feet (51 square meters) with floor-to-ceiling windows. There are also 1,600 square feet (150 square meter) luxury suites with balconies overlooking the sea or promenades.

One of the “neighborhoods,” named Central Park, features a square with boutiques, restaurants and bars, including the “Rising Tide” bar, which the shipping line describes as “the first moving bar at sea.”

It moves up and down three decks, allowing customers to get on and off at different level promenades.

Engineers at shipbuilder STX Finland said environmental considerations played an important part when planning the vessel, which dumps no sewage into the sea, reuses its waste water and consumes 25 percent less power than similar, but smaller, cruise liners.

“I would say this is the most environmentally friendly cruise ship to date,” said Mikko Ilus, project engineer at the Turku yard. “It is much more efficient than other similar ships.”

The liner was due to make its U.S. debut on Nov. 20 at its home port, Port Everglades in Florida and will be officially named on Nov. 30.

It will embark on its first cruise — a four-day trip to the port of Labadee in Haiti — on Dec. 1.

The Oasis of the Seas was due to call in at the English port of Southampton before continuing its voyage across the Atlantic.

STX Finland is building a sister ship — Allure of the Seas — for Royal Caribbean which is due to be launched in 2011.

http://www.msnbc.msn.com/id/33548529/ns/travel-cruising/

First shot of A-Team cast released

The A-Team was a pop culture phenomenon of the Eighties on par with Knight Rider and The Dukes of Hazard. And since Hannibal, B.A., Face and Murdoch hold a special place in the hearts and minds of Gen-Xers, it was only a matter of time before the super-fake action show hit the silver screen. After all, we already saw (unfortunately) the Dukes remake, and our own Alex Nunez liveblogged the sucktastic time waster that was the new (now canceled) Knight Rider series on NBC. All three shows have one thing in common; a bad ass vehicle that serves a different purpose in each show. B.A.’s GMC G-Series, with its red stripe and red turbine mag wheels was the command center for our favorite wrongly sought soldiers of fortune.

The A-Team hits theaters on June 11, 2010 and at the very least, the actors chosen are better than we expected. B.A Baracus will be played by Quinton “Rampage” Jackson, and the one and only Liam Neeson will play Hannibal. Bradley Cooper from The Hangover checks in as Face and Sharlto Copely will be the wacky pilot Murdoch. If that isn’t enough star power for you, the beautiful Jessica Biel will play the part of Carissa Sosa. Naturally, the iconic GMC van is making a triumphant return to the A-Team, though we’re guessing General Motors isn’t going to stand for blacking out the GMC lettering from the van’s grille like the show’s creators did after season one.

We’d love it if this plan came together, though we admit that we’re not hopeful. These “turn a TV show into a movie” deals seldom work out the way our inner children hope for. Hit the jump to watch interviews with some of the movie’s stars.

[Source: ETOnline via Auto-Focus]

http://www.autoblog.com/2009/10/29/first-shot-of-a-team-cast-released-gmc-van-included/

To see the video - http://www.auto-focus.us/autoblog/2009/10/28/video-a-team-cast

Netflix streaming coming to PS3… via Blu-ray disc

By Jacqui Cheng

Netflix continues its domination of the video streaming market by partnering with Sony to bring its service to the PS3. The two companies announced Monday that Netflix’s “thousands” of movies and TV shows will be streamable to the PS3 as of November 2009, and at no extra cost to Netflix members. Though the implementation is a little less than ideal, the partnership will solidify Netflix’s spot as the go-to service for on-demand streaming.

The arrangement is “less than ideal” because PS3 users will have to insert an “instant streaming disc” into their consoles before they can take advantage of Netflix’s streaming content. The disc uses BD-Live, which allows Blu-ray discs to pull down content from the Internet—basically, the Netflix player won’t be native on the PS3 operating system, but will run within the device’s Blu-ray player software.

It doesn’t take a genius to observe that this is noticeably less polished than Netflix’s implementation on the Xbox, for example—content can be accessed through an Xbox dashboard application without the need to insert a disc or do anything that involves getting up out of that comfy dent in the couch.

As pointed out by Zatz Not Funny, this was probably to get the solution to market as soon as humanly possible, but may also have been chosen in order to avoid making Sony too much as a middleman. Either way, having to an insert a disc means one extra step that will take this feature from “welcome” to “slightly irksome.”

This may not be the case forever, though. The two companies predicated the news by saying that this would only be the case “initially,” indicating that the PS3 might still get native Netflix streaming sometime in the future. Indeed, this appears to be the case after we spoke with Netflix spokesperson Chris Garrity.

“Netflix members and PS3 owners have really wanted a way to instantly watch movies and TV episodes streamed from Netflix via the PS3 system. The instant streaming disc represented the fastest and easiest way to let them so this,” Garrity told Ars. “Late next year we expect to have an embedded solution available for PS3s via a system software update slated for release through the PlayStation Network.”

The move is not only meant to make PS3 fanboys happy, though—Netflix is also trying stay a step ahead of the competition. With online video giant Hulu considering charging for content—possibly on a subscription basis like Netflix—it’s possible that the two companies could be competing more directly in the near future. Netflix certainly has a distribution advantage, though, with its streaming content going to numerous set-top boxes already (Xbox, TiVo, Roku, and now PS3), while Hulu has repeatedly tried to shut out non-computer browsing from consoles and media centers.

http://arstechnica.com/media/news/2009/10/netflix-streaming-coming-to-ps3-but-via-blu-ray-disc.ars

Hollywood wants share of Netflix’s windfall

by Greg Sandoval

Netflix CEO Reed Hastings says Hollywood is pondering whether to create a sales-only period that would prevent rental stores from distributing some films. He says that could be good for his company.

(Credit: Greg Sandoval/CNET)

At this point, who could begrudge Reed Hastings and his Netflix management team from celebrating, from performing the corporate equivalent of an end-zone dance?

Wall Street and Netflix subscribers appear overjoyed with the direction that Netflix’s CEO has the Web’s top video-rental store pointed in. The only people who don’t seem pleased with Netflix’s success work in Hollywood.

Just days before Netflix reported third-quarter earnings that jumped 48 percent from a year ago and subscriber growth of 28 percent during the same period, two executives from different studios told me they aren’t getting their fair share.

“The thing with Netflix is that people are taking notice that they keep reporting these big quarters,” said one studio exec. “We aren’t participating in that and that’s going to change.”

Another entertainment executive told me Netflix contributes less to the studios’ bottom line than other distribution modes, such as DVD sales. In addition, Netflix and other digital rental stores, including iTunes, may also be luring customers away from these more profitable outlets. He said that the film industry is just like any other supplier–it wants to see the partners who pay most for its product fare the best.

The problem here, of course, is that Hollywood’s best partners are ailing. DVD sales are in decline. Cable providers are seeing customers drop their subscriptions and turn to the Internet for entertainment. Theater revenues are up but that’s due to rising ticket prices.The more important statistic is the number of moviegoers and that’s shrinking, according to one of the studio execs.

As this Hollywood tearjerker plays out, Hastings and his Netflix crew continue to report knockout earnings. In addition, Apple CEO Steve Jobs is growing iTunes’ video-rental business as well as its download-to-own sales, according to multiple studio sources.

In this environment “there’s a lot of jockeying for position,” said Tom Adams, the principle analyst and founder of Adams Media Research, a company that has provided market data to Hollywood for 25 years. “The studios don’t love the rental market as much because the focus has always been on sales. They’ve had Wal-Mart and Target, stores that are willing to take slim margins for the traffic-generating capability that comes with selling DVDs.”

Look at the situation from the eyes of a studio chief: Netflix charges $9 a month and that enables a subscriber to watch all the movie titles Netflix offers online. Compare that with the money the studios get when a consumer pays $14.95 for a single DVD.

The lords of tinsel town would be wise to keep an eye on Hastings. It was just a couple of years ago that many predicted the company he co-founded in 1997 would be crushed by digital-distribution services.

But Hastings is turning out to be the John Elway of digital entertainment. Like the famed former Denver Broncos quarterback, the Netflix CEO has a knack for executing better than competitors and leading his troops out of jams. Plenty of pundits wrote not long ago that online-video services would eclipse Netflix’s DVD mail-order business–with its profit-chomping warehouses, big postage costs, and inability to provide instant gratification. Customers who rent discs must wait until the mailman arrives to watch a movie.

But Elway engineered “The Drive” and Hastings’ engineered the strategic partnerships with Microsoft’s Xbox, Roku, LG, Sony and other set-top makers that enable Netflix users to watch streaming video on their TV sets.

Under Hastings’ stewardship, Netflix has staked out prime turf. By bridging the so-called “last 10 feet” from the Web to the TV, Netflix promises users a viewing experience that rivals the one provided by traditional cable and broadcast stations. Apple can’t do this (who owns an AppleTV?). Ad-supported Web video services, such as Hulu or YouTube, aren’t hooked up to the TV yet in any important way.

As for Hollywood’s concerns that Netflix is hurting more profitable outlets, there appears to be room for negotiation.

Hastings suggested during Netflix’s third-quarter earnings call (PDF) on Thursday that he is willing to share more with the studios once more customers opt for streaming content, which will reduce the costs of shipping DVDs.

“In the long-term, as we license more and more content for streaming and as consumers use streaming more, that enormous and growing postal expense will start to flow to content owners and we will become one of the studios’ and networks’ largest customers,” Hastings said. “The rate of evolution for this depends both on how much streaming content we can license and how many homes have a Netflix-ready device or enjoy watching video on a laptop.”

(Continue reading) – http://news.cnet.com/8301-31001_3-10382717-261.html?tag=newsLeadStoriesArea.1

Disney’s Keychest unlocks movies for any platform

Disney is readying a technology that would let viewers pay a one-off fee for permanent access to a movie or TV show across multiple devices.

Named Keychest, the system would let people watch on anything from a TV to an iPhone, or via cable. The content wouldn’t actually be downloaded; instead, in a could computing-like model, it would reside  with the service provider, cable company or phone company. When the movie is purchased, the user is given an access key.

Bob Chapek, president of home entertainment at Disney Studios, told the WSJ that the company was taking the long view, and didn’t expect Keychest to deliver tangible financial results for five years.

Keychest could be a bit of a problem for the Digital Entertainment Content Ecosystem initiative, which has been beavering away at a similar technique for just over a year. That group, which includes five major studios, has support from Intel.

ABC has also persuaded an insider at Disney to talk. “Packaged goods will co-exist with digital platforms,” he said, adding that Disney is in talks with a number of technology partners.

http://www.tgdaily.com/content/view/44396/98/

End of the world as Hollywood knows it

by Greg Sandoval

To: Charlize Theron, Hugh Jackman, Seth Rogen, Tina Fey, Steven Spielberg, Michael Mann, every actor, actress, screenwriter, costumer, best boy, cameraman, set designer, makeup artist, and agent–plus anyone else who makes their living in the film industry.
From: Greg Sandoval, CNET media reporter and film fan.
Re: Your livelihood

Cut your spending. Save your money. Many of the revenue streams that have gushed into your industry for decades, some for nearly a century, are about to dry up. This will likely mean a period of belt tightening like you’ve never seen before.

The end is coming for DVDs, traditional movie rentals, and yes, much of your cable money will likely disappear.

The news isn’t entirely bad; you still have iTunes and Netflix–places where people spend money to buy or rent movies. You still have Hulu, Crackle.com, and YouTube, which are generating ad revenue by streaming full-length films and TV shows online. But the reality is that the amount of money that these legal operations generate is far less than the returns your industry is used to making. Unless some dramatic technological breakthrough occurs that can defeat file sharing, then you are staring at checkmate. Your business is headed for the same meat grinder that has chewed up the recorded music sector and print publishing. What will come out the other side is still uncertain but will likely be much smaller.

I’m sure many of you will write this off as the apocalyptic rantings of Silicon Valley propeller heads. But I urge you to pay attention to recent events.

Over the past five days I’ve been in Los Angeles talking to entertainment attorneys, studio executives, and some of the tech vendors who do business with the studios. I’ve been covering the sector three years now and I’ve never seen people in the film industry so dejected. DVD sales are falling, the number upcoming film releases is expected to drop. Some big shots have even acknowledged the bleak situation in public. The past weekend, at a conference on the USC campus, Disney CEO Bob Iger said the “business model that formed the motion picture business…is changing profoundly before our eyes.”

Iger warned that studios must make profound changes, “or you will no longer have a business.”

Earlier this month, Francis Ford Coppola, the director of “The Godfather” said at the Beirut Film Festival that “the cinema as we know it is falling apart.” He also predicted several of the studios would go out of business.

Of course, not all of your industry’s problems were caused by the Web. Hollywood has paid creators handsomely over the years and costs have skyrocketed. Then there’s the problem with Blu-ray. Iger noted that consumers aren’t upgrading their DVD collections with Blu-ray discs to the degree that the industry had hoped.

But if you’re really inclined to wag a finger, there is nothing disrupting your business more than the Internet. The MPAA has worked hard to force file-sharing sites out of business or push them to the Web’s fringes. At first, the studios tried to kill file sharing with lawsuits. Then they hired security firms, such as MediaDefender and MediaSentry, which promised to discourage file sharers by blocking or slowing the sharing process. None of that worked.

Maybe that’s one reason the MPAA overhauled its “antipiracy” operations three weeks ago. CNET reported on Friday that the studios’ trade group decided to change the name of the “antipiracy” unit to “content protection” and fired three leaders, including the MPAA’s general counsel.

And now, snatching a pirated film or TV show doesn’t require knowledge of torrents. There are scores of sites that stream movies and TV shows over the Web and a viewer doesn’t have to actually download the movie to their hard drive. I spoke to someone at the studios last week who said these sites are tougher to fight because they can crop up anywhere and many are based overseas. Often, said the source, “We don’t know where they are.”

What is happening is that the consumption of unauthorized content appears to be moving out of dorm rooms and into the living rooms of average Americans. Here is what you’re up against:

A 28-year-old woman I’ll call Alexandra (she asked for anonymity) grew up in Missouri, graduated from college, attends church every Sunday, and told me that she watches episodes of the hit cable show “Mad Men” at least twice a week at Surfthechannel.com, a site that hosts links to many unauthorized clips. She gleefully said that visitors can find almost any TV show they want and not pay a dime.

Alexandra said a friend told her about Surfthechannel.com a year or two ago and she watches shows there because she doesn’t want to pay for a cable subscription, or a TV and because it’s so easy.

She explained that she is not a bad person and that “everybody is doing this.” She says one of her professors told her “he and his wife sit at home on the weekends and enjoyed movies they downloaded (illegally) off the Web.”

I ask her if she has tried Hulu, the popular video site created by News Corp. and NBC Universal. The site offers a few feature films and lots of TV shows free to viewers and pays for them by serving ads. She said she had visited Hulu but added that “there’s more of the stuff I want at Surfthechannel.com.”

Alexandra’s statements about Hulu come at a time when the site’s backers are mulling whether to build a pay wall around some of its content. Alexandra and people like her aren’t even accepting Hollywood’s offer of free content because unauthorized sites offer better selection.

What do you think will happen if Hulu begins charging?

Don’t get me wrong. I understand that the returns at Hulu are probably much smaller than what the studios are accustomed to getting. There’s also the problem of growing dissatisfaction among the cable operators. How long will they continue to pay big bucks if more of their customers dump their subscriptions in favor of sites such as Hulu? Leaving a business that generated billions for one that makes far less would be hard for anyone.

But the possibility that studio chiefs must consider is what if the money offered by iTunes, Hulu, and Netflix is all that a digitally ravaged media world offers.

Eric Garland, CEO of Big Champagne, a company that tracks file-sharing usage and sells the data to the studios and major record labels said: “Hulu may be doing immediate harm to elements of your business, but waiting right behind Hulu in the shadows, are things that do so much more harm.”

http://news.cnet.com/8301-31001_3-10378654-261.html?tag=newsLeadStoriesArea.1

Colonel Mustard Returns!

By J.D. Biersdorfer

Clue fans bored with Colonel Mustard with the lead pipe can now move beyond the mansion with CLUE: Secrets & Spies, an international espionage edition of the classic detective game. The mission here is not impossible and the new Clue comes with a new real-time tech twist: Hasbro says it is the first board game in the company’s history to use cellphone text-messaging in gameplay.

Agent Mustard, Agent Scarlet and the rest of the colorful Clue characters are now on assignment to thwart C.L.U.E. (Criminal League for Ultimate Espionage) and take down the evil Agent Black. At the beginning of the game, players check in at Hasbro headquarters via text from their own cellphones. As the game proceeds, Hasbro sends six text messages back to move the action along. An ultraviolet decoder, included with the game’s activity cards and other pieces, also reveals information.

CLUE: Secrets & Spies sells for $25 at www.hasbro.com/clue. The text-messaging element is optional and Hasbro is committed to supporting it through December 2011. The cost of the text-messages aren’t included—which could be a clue itself as to why the phone bill is so high for enthusiastic players without unlimited text-message plans.

http://gadgetwise.blogs.nytimes.com/2009/10/14/col-mustard-returns/?ex=1271217600&en=ef9272b18825b201&ei=5087&WT.mc_id=TE-D-I-NYT-MOD-MOD-M119-ROS-1009-HDR&WT.mc_ev=click

“Rapunzel” Concept Drawings

By Julie Bonner

//

Disney is remaking “Rapunzel” and the film is slated for a December 10, 2010 release. John Lasseter showed some clips and sketches from the film at the D23 Expo he also revealed three ways Rapunzel leads the pack when it comes to the Disney princesses we all know and love.

One of the ways this Rapunzel is different is she uses her hair as a weapon. Check out this concept drawing from “Rapunzel” with the prince using her long hair to climb into this dome.

There are some changes to Rapunzel when it comes to the other Disney princesses, but she will still hold some of the same characteristics we all know and love about them. She still sings, there is still a prince involved and films have been made out of all five Disney princesses: Snow White, Cinderella, Sleeping Beauty, The Little Mermaid and Beauty.

At the D23 Expo, John Lasseter said, “The sixth one finally comes to life. Take a closer look at the girl behind the golden hair.”

More concept art drawings of “Rapunzel”.

http://www.disneysociety.com/2009/10/15/rapunzel-concept-drawings/

JVC SP-FT is a drool-inducing, 31mm thin home theater speaker system

We know, life’s tough. You want to buy the latest ultraslim HDTV, but find that your home theater speakers will look monstrously bulky sitting alongside it. JVC wouldn’t want to cause you such headaches, which is why it’s trotted out the above pair of 31mm thin speaker satelittes — known as the SP-FT1 in black and SP-FT2 in their white garb — and the AX-FT amplifier squeezed in between them. While you should probably not expect Telos 5000-like output, the amp will deliver 80W of total output over 4 independent channels, and has support for Dolby Digital, DTS and AAC formats. Prices are expected to be around ¥24,000 ($267) for the amp and ¥20,000 ($223) for the speakers when their black iterations hit Japan later this month, with the willowy white option showing up in November.

[Via Akihabara News]

Gallery – http://www.engadget.com/photos/jvc-sp-ft-and-ax-ft/2363783/

http://www.engadget.com/2009/10/14/jvc-sp-ft-is-a-drool-inducing-31mm-thin-home-theater-speaker-sy/