At the start of October 2025 I noted that I would be taking something of a break from SL and blogging in order to address a health issue which had been developing since earlier that year. At the time I did not go into specifics – nor do I intend to here. Rather, I wanted to let people know that circumstances were such that a break was required, and its exact length might well be indeterminate.
As it turned out, things initially appeared to go better than planned: the surgery proved to be less complicated than had originally described, and the immediate cause for concern fully excised. As a result, my immediate recovery proved to be faster than anticipated, notably in terms of the time I was actually in hospital, such that by the latter third of October I was hoping I’d be returning to SL and blogging pretty much “full time” as it were.
Unfortunately, by mid-November it became apparent that despite these positives, the underlying cause of my problem had not been completely eliminated, and I would therefore require a more sustained period of treatment in order for it to hopefully be dealt with. As a result, my focus on SL and blogging has continued to be reduced and noticeably haphazard throughout the end of 2025 and into 2026 – and will most likely continue to be the case for at least the immediate future.
I mention all of this not to elicit thoughts and messages of sympathy and / or support, but because I’m aware that during the latter part of November and through December I received a lot of personal requests to attend a range of events (art, charity, music, etc.) and / or to ask for my help in promoting specific activities, the openings of public regions, etc., the majority of which went unanswered. As such I genuinely believe an apology for such a lack of response is warranted; the fact that my ramblings and this blog are viewed with regard by many is something I never wish to take for granted – it has and remains something for which I am ever grateful. Thus, I hope readers will take this post in the manner it which it is offered, and continue to bear with the unpredictable nature of my blogging until things again start to settle down for me.
In the meantime, my thanks to everyone for continuing to read this blog, and especially to those who have asked after my health through IMs, DMs, and the like; it really has helped lift my spirits.
Grauland Gap, February 2026 – click any image for full size
It seems Sod’s Law and I are becoming very well acquainted. This was brought home to me today with regards to Jim Jim Garand’s Grauland. I’ve been aware that Jim had been working on a new design for his region for over a month, so had been keeping an eye out for its opening. Sod’s Law then determined I would be absent SL when it did open, causing me to miss the event.
I always enjoy Jim’s builds; they offer much to appreciate and draw on lots of varying sources of inspiration, some of them present in the physical world, other from the imagination; hence why I’ve been writing about them for some six years. The region design Jim presents to us at the start of 2026 is called Grauland Gap, and it appears to draw a degree of inspiration from Los Angeles.
Grauland Gap, February 2026
The most obvious evidence for this statement lies in the “gap” which gives the setting its name. It splits the region north-to-south, cutting it into two unequal halves. This gap – a broad channel – carries a striking resemblance to the channel found within Los Angeles and which carry the waters of the Los Angeles River and its associated storm channels. It’s a look enhanced by the road and rail bridges crossing it; however, unlike the many LA channels seen in film and television, this one has an uneven riverbed floor rather than further smooth cement, giving it a unique look quite apart from any hint of LA.
The landscape in which Grauland Gap is far enough removed from LA, however, to ensure it stands apart from any physical world location. High mountains and tall cliffs rise over the setting, some of the mountains reaching out to sea and rising from it, leaving Grauland Gap with a second meaning behind its name: the town sits within a gap between the high cliffs and mountains, connected to the rest of the world by tunnels alone.
Grauland Gap, February 2026
As a town, Grauland Gap is rich in detail and local life, be it the graffiti along the angled sides of the river channel to the people attending at what appears to be a gathering of classic and vintage cars in the south-west corner of the region, or enjoying a sunny wander along the streets. There is also what – to me at least – something of a clever juxtapositions within the region which might be seen as something of an artistic statement in place of the more overt art elements that so often form a part of Jim’s design.
This can be found in the car show mentioned above. It sits alongside a trendy coffee house, the cars pristine and admired in a weekly Cruise Night car and music show. The vignette speaks to the upbeat America we all prefer to see, from the trendy coffee house to the shiny fast cars – a general love of life and freedom.
Grauland Gap, February 2026
Across the river channel however, and diagonally opposite the pristine cars in their well-kept parking lot, is a wrecking yard filled with the rusting, broken, carcasses of disposed cars and vehicles. The contrast between the two could not be more striking particularly in what might be seen as a possible artistic commentary on American consumerism, and short-termism.
The contrast can also be found in the sheer newness of the coffee house, its parking lot and the cars and the tired façades of the buildings across the road. Elsewhere, artistic intent is more directly expressed in the form of a sculpture upon which a latter-day artist has added their own statement, courtesy of a few spray cans of paint. It joins the river channel graffiti form the most visible physical displays of art.
Grauland Gap, February 2026
The Landing Point sits on the south side of the region in the middle of the road running alongside the wrecking yard. A teleport disk sits in the road like an oversized manhole cover ready to do nasty things to an unwary passing car provides access to Jim’s skyborne store. Sitting between the landing point and the open sea is a children’s playground and steps down to a rough shingle beach that curves around to join the outflow of the river channel.
That the majority of the buildings in the setting are just façades and without interiors makes no difference: Grauland Gap (anywhere USA) is a visually engaging setting – do be sure to view it under the region EEP settings.
February has arrived, and with it all the romance (and frequent commercialisation- although in this day and age, what special holiday or day isn’t a commercial opportunity first? In the UK it only took many stores to open on Boxing Day – the day after Christmas Day if you’re not familiar with the term – for customers to find shelves stocked with love hearts, Valentine’s chocolate selections – and, worse, Easter eggs, fluffy Easter bunnies and Easter bears) of Valentine’s Day.
Fortunately, there are many who are here to offer more fulfilling celebrations of love, romance and Valentine’s Day, including Cica Ghost, who offers a light, fun and engaging view of the month of romance with Oh My Heart.
Cica Ghost, February 2026 – On My Heart
Filled with semi-anthropomorphic hearts, cuddly bears and rabbits, lovable elephants and a Queen of Hearts who is most definitely not of the “Off with their heads!” type. All are gathered within a landscape filled with giant green flowers, looping vines and areas of red-and-black chequerboard patterns, complete tower and wall of red-and-black cubes with blocky rocky upthrusts.
The red heart characters stand on booted feet and appear to be without a care in the world. Their houses are also heart-shaped, whilst the bears and rabbits cuddle red hearts or offer heart symbols to passing visitors. Meanwhile, the Queen of Hearts presides over all from the height of her fairy tale castle up on a mesa reached by stone steps. Black hearts offer dances throughout and sit-points – some obvious, others perhaps not so obvious, so be sure to mouseover! – are also scattered about, this is another light and delightful setting for anyone to enjoy, whether a romantic or not.
Cica Ghost, February 2026 – On My Heart
The setting comes with a quote from humourist, playwright, poet and author Alan Alexander Milne. It was two tomes of his verses – When We Were Very Young (1924) and Now We Are Six (1927) – through which he found his literary métier: writing for children. Thus came the two volumes for which he is perhaps most famous: Winnie the Pooh (1926) and The House at Pooh Corner (1928). Whilst ostensibly written for children, notably his son, Christopher Robin Milne, these two works are rich in observations about human behaviour, gentle truths on how to behave and what in life to treasure. It is from the latter that Cica has chosen her quote:
Sometimes the smallest things take up the most room in your heart.
– A.A. Milne, Winnie the Pooh
Cica Ghost, February 2026 – On My Heart
There is a marvellous depth of truth and meaning in this single sentence; so much so that likely it means something different to many of us. Given this, I’m not about to churn out a litany of interpretations. You can do that for yourself both before and after visiting Oh My Heart. What I will say is that I felt especially drawn to this installation because of the quote: Milne is an author I try to read once every 12-18 months (at least the Winnie the Pooh books). I simply love Milne’s kindness and insights.
So, why not go an enjoy Oh My Heart, and then, if you’ve never read the Milne’s two volumes of Winnie the Pooh’s adventures with his friends in the Hundred Acre Wood, or haven’t read them in a while / as an adult, I urge you to consider doing so as well.
Logos representative only and should not be seen as an endorsement / preference / recommendation
Updates from the week through to Sunday, February 8th, 2026
This summary is generally published every Monday, and is a list of SL viewer / client releases (official and TPV) made during the previous week. When reading it, please note:
It is based on my Current Viewer Releases Page, a list of all Second Life viewers and clients that are in popular use (and of which I am aware), and which are recognised as adhering to the TPV Policy.
This page includes comprehensive links to download pages, blog notes, release notes, etc., as well as links to any / all reviews of specific viewers / clients made within this blog.
By its nature, this summary presented here will always be in arrears, please refer to the Current Viewer Release Page for more up-to-date information.
Outside of the Official viewer, and as a rule, alpha / beta / nightly or release candidate viewer builds are not included; although on occasions, exceptions might be made.
Official LL Viewers
Default viewer 2025.08 – 7.2.3.19375695301 – maintenance update with bug fixes and quality of life improvements – December 2 – No Change.
Notable addition: new VHACD-based convex decomposition library for mesh uploads.
Second Life Project Lua Editor Alpha viewer 26.1.0.21525310258, February 3 – NEW.
Second Life Project Voice Moderation viewer 26.1.0.20139269477, December 12 – No Change.
Introduces the ability to moderate spatial voice chat in regions configured to use webRTC voice.
Second Life Project One Click Install viewer 26.1.0.21295806042, January 26, 2026 – one-click viewer installation – No Change.
A rendering of the GRU Space “version 2” hotel. A possibility, a pipedream or something else? Credit: GRU Space
The commercial space sector is in its infancy, and it is very easy to get caught up in the hype and promises that start-ups in the sector bring with them. At times, this is made worse by publications and media outlets swallowing every statement made by the CEO of SpaceX hook, line and sinker, without applying a modicum if critical thinking (yes, I’m looking at you, Ars Technica, Space.com, Everyday Astronaut and Marcus House), encouraging publications to act more like PR mouthpieces than offering professional reportage.
Take, for example, Galactic Resource Utilisation (GRU) Space, and their claim that in by 2032, they will be operating the world’s first hotel on the Moon and will follow it up with a larger version before offering the same on Mars; framing the moves as the first necessary steps towards humanity becoming a galactic civilisation.
Exactly how serious this company – comprising two founders and a “consultant” – might be in its aims is unclear. But from the company name (GRU – to close to Felonius Gru, the man who planned to steal the Moon in 2010’s Despicable Me to be coincidence , and likely intended as a “har, har” joke) through to some of their wider claims, it’s hard to see this as little more than (at best) naïve thinking.
Certainly, the company’s website and “whitepaper” give rise to a wealth of questions, in terms of the reality of the idea of a hotel on the Moon, through the claims GRU Space make concerning it, to the claims made by the company’s founder. Given this, it’s hard to know where to start in analysing GRU Space and their entire “plan”; both the website and “whitepaper” are fill with gross over-simplifications and logical fallacies whilst at the same time simply skipping over key aspects and costs required of such an undertaking. Take for, example, the company’s 6-point “master plan”, the first 3 steps of which read:
1. Build a hotel on the Moon. GRU solves off-world habitation.
2. Build America’s first Moon base (road, mass drivers, warehouses, physical infrastructure on the Moon).
3. Repeat on Mars.
Who’d have though establishing facilities on the Moon and Mars would be so “simple”. and that’s ignoring the arse-about face progression of steps 1 and 2 – build your hotel then build the infrastructure to support it? Is that not akin to building a housing estate and then providing the necessary road, power, water, sewage, etc., infrastructure?). I’m also going to ignore step 3 entirely, as it involves everything else I’ll cover in this article – with each one being of far greater magnitude.
Steps 4 through 6 of the “plan” are hardly better, drawing as they do on terms such as the Overton Window, and Kardashev Scale and mixing them with further logical fallacies in order to make a (very poor) case for investment whilst offering objectively misguided / misunderstood parallels together with dichotomies of thinking which further underscore the inherent naivety throughout the “whitepaper”.
GRU Space claims the first step in their endeavour will be a test module. Credit GRU Space
In terms of misguided parallels, the “whitepaper” draws on space tourism and tourism on Mount Everest as demonstrations of the potential for a hotel on the Moon to have mass appeal. In terms of the former, the company points to the rise of space tourism in the last 5 years, presenting a graph suggesting tourism far outweighs astronaut flight into space. However, the data presented ignores the fact that almost 50% of said tourists have participated in sub-orbital flights to the edge of space; a very different proposition to flying to orbit – or the Moon to the point where it has absolutely no bearing on the latter.
Turning to Mount Everest, while it is true that tourism has made up the lion’s share of ascent to the summit of Mount Everest, since the 1990s, less than 8,000 individuals have made the trip to summit of the mountain. Both sub-orbital flights to the edge of space and to the summit of Mount Everest aren’t cheap: the latter comes in at between US $50,000 and US $120,000 for a trip with “good” to “excellent” logistical support; whilst sub-orbital flights cost somewhere in the range of US $225,000-US $400,000. None of these price points are exactly accessible to a mass market. And they don’t come anyway close to the costs GRU Space is projecting. costs presented no sound financial foundation other than vague predications from the likes of the SpaceX CEO (and we all know how accurate those tend to be) .
By their own guessimates, GRU Space are planning to offer 5-night stays at their “Moon hotel” for an initial US $$27,083,335.00 per person, which they claim will fall to just under US $1 million. However you cut it, the first is several orders of magnitude greater than the cost of an 8-minute flight to the edge of space, and enough to make even the very wealthy baulk. The second, meanwhile operates on a false assumption, something I’ll come to in a moment. As such, it is hard to see GRU Space leverage the kind of real money they will need to make their plans a reality.
The GRU Space “version 1” hotel supposedly for 4 guests, an inflatable structure surrounded by shaped regolith. Credit: GRU Space
In terms of cost to customers, the “whitepaper” glosses over / ignores a lot. First, the suggestion they will be using either the Starship HLS or Blue Origin Blue Moon Mark 2 lunar landers – both of which, it is not unfair to say, will have other priorities (assuming the SpaceX HLS actually reaches a point where it can enter service), making their use in a parallel commercial venture somewhat questionable. More to the point: these vehicles will require periodic refuelling to remain operational – at an unknown cost the “whitepaper” fails to mention. More than that, both vehicles require refuelling in order to reach the Moon; no mention of this fact in made in the GRU Space document or who will pay for it.
Given that SpaceX estimate on-orbit refuelling of a Moon-bound Starship will be on the order of US $180 million – that’s a big chunk of missing data – US $45 million per seat in the case of tourists heading for the “version 1” hotel (designed to house guests), if the cost is to be passed on, which is not mentioned either; neither is how the cost per flight be met if GRU Space is to somehow “absorb” it. There are also other issues around the use of Starship (e.g. whether or not the HLS version will ever be used for anything beyond two Artemis missions and then junked; whether the “standard” version of Starship will ever be rated to launch humans – eve the HLS version will not be rated for crew launches from Earth and so on). however, I’ll do you a favour a pass on waffling on about them.
Of course, Starship is not the only player in town. There’s Blue Origin, a company far more likely at this point in time to deliver humans to the surface of the Moon than SpaceX. But even they require on-orbit and lunar refuelling options, again increasing the overall cost per guest at a GRU Space hotel.
Similarly, the idea that there will be some kind of “10 fold” decrease” in the cost of launching humans into space, making flights to the 12-person “version 2” of the hotel so much cheaper, actually stand up to scrutiny. Whilst Starship has the potential to reduce the cost of launching inanimate payloads to orbit, this is only if it can operate at scale – multiple launches per day. Frankly, the commercial market as a whole is a long way from requiring that kind of general launch cadence, making the idea questionable.
More to the point, whilst SpaceX has reduced the cost per kilo of launching payloads to orbit on Falcon 9, the cost to do the same with humans – $225 million per 4-person launch – has not shifted downwards at all since 2019, despite the 5-fold increase in the Crew Dragon fleet.. This is because launching humans requires a lot of specialised ground and vehicle systems; thus SpaceX look to reductions in servicing and turning around Falcon 9 booster as a means to offset the overheads involved in servicing and refurbishing individual Crew Dragon craft, not as a means to reduce costs to users. There is absolutely no reason to suspect this would not also be the case with and future human rated version of Starship, were it to appear.
Nor does the failure to accurately present costs end there. no mention is made as to:
The cost of what would likely be single-use spacesuits for the hotel guests (which could be anywhere from US $10 million to US $228 million, depending on the suit type and manufacturer).
The cost of developing and deploying suitable life support systems and their back-up for each hotel; the implementation of suitable power generation and storage capabilities and the parallel need for thermal regulation systems.
The costs involved in ensuring adequate on-sit medical facilities.
The cost (or number) of staff for each version of the hotel (or in providing them with accommodation, life support, food, etc.).
Perhaps the most glaring example of the naivety present in the “whitepaper” is the claim that GRU Space can recoup all of the outlay involved in establishing the 4-person hotel – liable to realistically be in excess of at least US $1 billion – by flying just 12 guests to the hotel in the first year.
The only way this potentially comes into the vicinity of being a realistic figure is if the costs of all the essentials mentioned above – power, life support, etc – are ignored, and you look at the claim sideways and in a mirror. With one eye closed and the other squinting, whilst simultaneously reciting Hamlet’s soliloquy in full.
Another rendering of GRU’s “version 2” hotel. Credit: GRU Space
In terms of logical fallacies with the “whitepaper”, these are literally manifold- places an many as 5 in single statements. I’m not going to list all of them here. But to provide a further example: the whitepaper infers that because NASA requires in-situ resource utilisation (ISRU) for the Artemis Moon base, GRU Space is the only logical choice for providing those capabilities because they are “unique”. In reality, there are multiple companies and universities involved in ISRU technology development, all of whom are far better established than a two-man start-up.
There is much more within the “whitepaper” that can, and should be challenged – and which should have been challenged by space media outlets rather than them simply regurgitating the PR without thought or research but no. Like the equally questionable Voyager Station proposal claiming a company will have a spinning space station (to give it artificial gravity) accepting up to 280 guests (at $1.2 million a pop) operating from 2027 – the PR is presented as reportage that has a Field of Dreams inevitability, with not a single question about where the “tens of billions” required to build the station will come from (indeed, as of writing, Above Space has raised exactly … US $4.8 million over 4 years, and much of the dedicated space media which helped hype the idea seem to have quietly brushed it to one side.
As such, I admit to a certain curiosity as to where GRU Space will be in the hype cycle a year from now. As it is, it would appear that two companies originally cited as “backers” for the project have requested their names be removed from the company’s website: Anduril Space and … SpaceX. If nothing else, having a company run by the king of over-promising and under-delivering ask for its name to be removed from your website can’t really be a good sign.
Artemis 2 Update
The Artemis 2 Orion vehicle within its payload fairings and Launch Abort System at the top of the Space Launch System rocket on LC-39B, Kennedy Space Centre during the wet dress rehearsal. Credit: NASA
As per my previous Space Sunday article, Sunday, February 8th, 2026 was targeted as the launch date for the launch of the crewed Artemis 2 mission around the Moon and back.
At that time of that article, NASA was running the mission’s massive Space Launch System rocket through a wet dress rehearsal (WDR) – a final pre-launch test designed to ensure all ground systems – including those responsible for loading the vehicle’s core tanks with propellants were all operating correctly and to uncover any niggles in processing, etc. that could be ironed-out before an actual launch.
During the preparations for Artemis 1 in 2022, a similar WDR caused NASA much embarrassment and rolling of the mission’s launch vehicle back and forth between the launch pad and the Vehicle Assembly Building at Kennedy Space Centre (exacerbated by bad weather) due to a series of issues relating to the feeds providing propellants and vital gases to the rocket, including the liquid hydrogen propellant feed located on the mobile launch platform at the base of the rocket.
These issues resulted in significant changes and updates to the umbilical system in the years following Artemis 1, and the Artemis 2 WDR was the first opportunity to test them in sequence. These updates name some at NASA take a bullish attitude towards the WDR and the updates made to the launch systems.
However, as propellant loading progressed, sensors within the umbilical propellant feed system reported a helium leak similar to that seen with Artemis 1, possibly as a result of the neighbouring hydrogen umbilical super cooling the seals on the helium feed, causing them to contract and allow helium to escape. The countdown was paused to allow the helium seals to warm up and reset.
This appeared to work, and the countdown reached T -5:15. at this point the Ground Launch Sequencer – a system designed to monitor all aspects of the vehicle’s preparations ad make sure everything proceeds in the correct sequence – intervened and shut down the test when it registered multiple sensors reporting a sudden and sustained spike in hydrogen leaking from the umbilical system – much as happened with the Artemis 1 WDR.
As a result, the the February launch opportunities were closed out, and operations moved to the early March launch opportunity to allow the problems with the hydrogen feed to be investigated. This means Artemis 2 will not launch until March 7th, earliest, and will likely be preceded by a further WDR. The leaks and delay are liable to cause further negative feedback towards SLS / Orion – and cause NASA a certain degree of embarrassment.
Artemis 2 on the pad at Kennedy Space Centre. Credit: Craig Bailey. Florida Today
In the meantime, the delay clears Crew 12 for a February 11th launch to the ISS.
The following notes cover the key points from the Web User Group (WUG) meeting, held on Wednesday February 4th 2026. These notes form a summary of the items discussed and is not intended to be a full transcript. Pantera’s video is embedded at the end of this article, my thanks to her for providing it.
Meeting Overview
The Web User Group exists to provide an opportunity for discussion on Second Life web properties and their related functionalities / features. This includes, but is not limited to: the Marketplace, pages surfaced through the secondlife.com dashboard; the available portals (land, support, etc), and the forums.
As a rule, these meetings are conducted:
On the first Wednesday of the month and 14:00 SLT.
Meetings are open to anyone with a concern / interest in the above topics, and form one of a series of regular / semi-regular User Group meetings conducted by Linden Lab.
Dates and times of all current meetings can be found on the Second Life Public Calendar, and descriptions of meetings are defined on the SL wiki.
Updates
The past month has largely been focused on planning and information gathering as the Web team works out priorities for the year ahead. As such, direction an initiatives may change as decision are made based on information gathered.
Current work in progress:
Marketplace responsiveness work (i.e. making it more Mobile-friendly), particularly focused on the Marketplace home page and including things like category total to the site navigation sidebar, possibly making the Feature Items on the page high contrast.
Refresh of the viewer log-in splash screen, described as “same item, just a different arrangement”. This will b an iterative process within viewer releases as updates are made.
Possibly adding the long-requested ability to search by region on the web maps – although this is described a “complicated”. This work might also include some clean-up of other web maps issues that have been raised.
A clean-up of legacy codebases.
Upgrading the log-in infrastructure.
Release of the viewer log-in email modal, asking people to make sure they have a valid email address on file with LL.
In Brief
Also refer to the video.
Marketplace
Question to attendees: if you were a merchant, which Marketplace page would you like to have responsive and would be the most useful to you? currently, Search and listing pages are responsive.
This got side-tracked somewhat be a request for data on the number of Mobile users using the Marketplace and questioning why Mobile users would want to have access to the Marketplace, given “they can’t wear anything” (so what? I frequently brose the MP via my PC’s browser without having the viewer running; doesn’t stop me from buying stuff for later, even if I cannot wear it when using my browser; the same is likely true for established users on Mobile).
In terms of Mobile responsiveness and merchants – would a merchant use Mobile to manage their listings, etc., over logging-in via their desktop / laptop and managing their stores?
A broader preference was expressed for the consumer experience on on Mobile to be more responsive.
The Variants / Style work – allowing one listing to have all the colour options for an item – which under Reed Linden’s time at the Lab was a focus to the point of being promised at the “first deployment” in 2023 – appeared to ultimately get swallowed by a black hole. There may be a (further) move to get it back onto the roadmap.
A discussion on providing the cost of items in two currencies on MP listing – L$ and local currency (or USD), the idea being to put how much items in SL cost in real terms to help new users. There are complexities to this.
Suggestions for the “Related Items” in listings should also have:
A “Quick Buy” button to add them to the shopping cart without having to open the actual listing and then add it.
A “Quick Demo” button to obtain the demo of an item (if the creator provides one) without having to go to the main listing and then click on the demo link and then add the demo to the shopping cart.
Both of these options could also be added to Search results as well, allowing people to click through a list of search returns and add the items they want to their cart.
General
Question to attendees: which web property would you like to see all nicely polishing and “finished”? Maps was inevitably referenced (as was having the SL Map on the viewer splash screen – which is most certainly a non-trivia project to undertake, together with specific pages in the MP and web search.
My preference would be for the Second Life dashboard to be overhauled (elements made more directly accessible, navigation improved, use of drop-downs for things like Groups and Friends lists, options for better input from LL – such as “mini posts” offered as pop-ups within the dashboard, as was once the case, etc.). The dashboard is a core centre for information but looks terribly dated in layout.
Canny often receives suggestion for new Canny categories. Should these be submitted individually or as a “group” of suggestions? Group them.
It is unlikely that Web User Group meetings will move to a more frequent cadence than once a month as some have requested (ironically, they have also stated other meetings can be “dry” – possibly as a result of them being held too frequently, leaving some meetings with little to discuss).
Several subjective opinions were expressed:
Banning gacha because “I don’t like them” (so don’t use them – and let those who do carry on).
No icons in MP category listings because “I hate them”. Well, they serve an accessibility purpose and are cross-language – although subjectively, I’d personally like to see some of them made more relevant to their category – what has a figure apparently hanging by one hand from an invisible branch have to do with “Apparel”? Why not an icon an actual item of apparel – pants or a shirt or a dress? If people have to decode an icon by reading its label, then the point of the icon is lose.
The icons discussion led to a suggestion that LL should see if descriptions / definitions could be added to categories, so that a mouseover or click would display them.
A general discussion on whether gacha items are “use items” or not (yes and no) and to whom the gacha market is aimed.
Various discussions on payment methods and other topics in the last third of the meeting.
Whilst not a topic for this meeting, it was suggested that the SL URL create.secondlife.com is confusing, suggesting it is for general content creation, whereas the actual portal to which it resolves is focused solely on SLua / LSL scripting(why not script.secondlife.com?).
Akimori, February 2026 – Mareea Farrasco: Tapestry
Currently open at the Akimori, a part of the Akipelago complex operated by Akiko Kinoshi (A Kiko), is an exhibition by the talented Mareea Farresco. It is entitled Tapestry, with the subtitle Medieval Fantasy.
Presenting nineteen images, this is a narrative exhibition, unfolding a story of a maiden and her encounter with a travelling troubadour in medieval times. Mixing images of landscapes with images of avatars, the images are designed to be viewed in a specific order, starting with the image of cathedral, located on the far left of the information board listing the names of all 19 pieces. From here, the story progresses past the introductory board and on around the worlds of the exhibition space.
Akimori, February 2026 – Mareea Farrasco: Tapestry
Thus, the pictures progress from the cathedral and through the streets of a medieval town, their ordering suggestive of a walk taken by the maiden, out of the town and past the tall towers and strong walls of a Norman-style castle standing proud on a hill. As they continue around the walls, the pictures introduce us to the maiden with a subtle hit of her love of music, before moving on to her encounter with the troubadour and the blossoming of an apparent relationship – one which we instinctively know will not last.
The images themselves are beautifully processed to give the appearance of paintings produced if not within the period of the story, then possibly by one of the great masters of the renaissance period, the start of which overlapped the end of the medieval. This is particularly true of the images of the unnamed town and its guardian castle, all of which are rich in detail, capturing moments in time. The images of the maiden and her troubadour are equally engaging avatar studies, vividly telling the tale of love and loss (or is that perhaps abandonment?) and the inevitable hurt and loss.
Akimori, February 2026 – Mareea Farrasco: Tapestry
In this, Tapestry appears to offer a story within a story: just how genuine is the troubadour in his feelings for the maiden? Is it a genuine love, or the opportunity for a dalliance as he goes about his travels, singing his songs to whomever will pay him, staying only so long in any one place as meets his needs before his inevitable wanderlust causes him to move on? From the perspective of the maiden, their relationship is real, and she is clearly heartbroken following his adieu and departure. From this, our imagination might build a number of possible tales within the tale, adding a personal depth to the images.
With the exhibition space decorated to match the tone of the images, Tapestry is an engaging and expression exhibition, ideal for art lovers and storytellers.
Akimori, February 2026 – Mareea Farrasco: Tapestry