Space Sunday: catching a rocket in a net; the dangers of dust

Smoking pouring from it upper end, possibly as a result of a non-critical fire in the interconnect bay, the first Long March 10B to fly a mission to orbit settles towards “net” capture aboard the recovery vessel LingHang Zhe, July 10, 2026. Credit: CCTV

A lot of people laughed when China announced it planned to develop a launch vehicle with a reusable first stage that would, on its return to Earth, be caught by a net. Well, they’re not laughing any more.

On Friday, July 10th, a Long March 10B (CZ-10B) medium lift launch vehicle (MLLV) lifted-off from the Wenchang Commercial Space Launch Site, China’s first commercial spaceport on the type’s maiden flight. Roughly in the same class of vehicle as the SpaceX Falcon 9, the CZ-10B has a 16-total maximum payload capacity and is a derivative of the the CZ-10 design, specifically developed for the commercial space sector and for its first stage to be recovered.

This maiden flight not only tested the system for recovering the rocket’s first stage but confirmed the rocket’s ability to deliver payloads to orbit, which it did so successfully. The vehicle lifted-off at 04:14 UTC, climbing up through Max Q and to upper stage release altitude. Following separation, the booster stage then continued on an upwards ballistic trajectory before starting a fall back towards Earth, deploying a set of grid fins to maintain its vertical orientation and providing steering during the passive descent for an at-sea recovery.

The Long March 10B recovery ship LingHang Zhe without the capture gantry mounted on her deck (although the groups of raised fitting plates can be seen). Credit: China in Space

Following a powered re-entry into the denser atmosphere – lessening the dynamic stresses on the booster – it dropped in an unpowered state to just over 1 km altitude, when the 7 YF-100K motors were relit and, under automated control, the booster steered towards the recovery vessel LingHang Zhe (“Navigator”) with its huge recovery gantry. Under the guidance of four LIDAR systems mounted on the gantry, the booster positioned itself over the middle of the gantry, and began a slow final descent, deploying four hooks on its upper end.

At the same time, the LIDAR system guided four arresting cables along the gantry so they enclosed the booster which was then commanded to shut down its engines. Doing so, it gently dropped the last couple of metres, the hooks catching the arresting cables, which acted alike shock absorbers, bringing the booster to a gentle stop before tensioning. Whilst not seen in the videos released of the landing, the gantry includes a circular restraining mount which can be rotated out, allowing the booster to be placed within it by the arresting cables, securing it for the voyage back to port.

A camera on the side of the CZ-10B provides a view down as the booster positions itself over the capture gantry aboard LingHang Zhe. Credit: CCTV

Incidentally, if you’re wondering about the thick black smoke pouring out of the top of the booster as seen in the video below, it is believed that dumping excess RCS propellants out through valves in the top of the booster (designed to minimise shipboard crew exposure to toxic hypergolic propellants) resulted in a small fire in the booster’s interconnect bay.

If this all sounds mind-bogglingly crazy compared to putting landing legs on the booster and allowing it to land directly on the ship a-la SpaceX / Blue Origin, it actually isn’t. A direct landing system requires landing legs, shock absorbers, a deployment mechanism, etc., whilst the booster itself requires strengthening against the shocks and stress of landing. All of this makes the booster heavier, more complex and thus less payload-capable. It also means the structure of the booster has to be extensively checked for micro fractures, etc., and multiple landings take their toll. None of this is the case when the booster a captured like this. As a result, the booster can be simpler, lighter and lift heavier payloads. Hence why SpaceX discarded landing legs for Starship / Super Heavy.

Following the CZ-10B success some critiqued the Chinese system because any collision between a descending booster and the gantry / capture system could destroy the latter. However, the same is true for Starship / Super Heavy, only more so: it is easier to replace a damaged gantry system when the ship returns to port (or on land, if the Chinese also go on to use land-based captures) than have to completely rebuild an entire launch / return site).

One other interesting offshoot of this is that the CZ-10B first stage is nigh-on identical to the CZ-10 first stage (other than the latter not being reusable). Three of the CZ-10 first stages are to be used to initially power the full CZ-10 which it commences operations – much as three Falcon 9 first stages power the Falcon Heavy. Therefore, it is possible that has experience is gained with capture operations, the Chinese might also launch the CZ-10 using one or more recoverable CZ-10B first stages, thus lowering CZ-10 lunch costs somewhat.

 Asteroids, Collisions and Dust

The subject of asteroid impacts on Earth has come up numerous times in this column. While the risk of such an impact is – relatively speaking – small, it is far from non-existent. The 2013 Chelyabinsk meteor at 18 metres across, for example is in the size category of asteroids liable to strike Earth once every decade (ish). Then there is the Tunguska event of 1908. That’s thought to have been caused by a stony asteroid 50-60 metres across and devastated 2,150 square kilometres of forest. This kind of impact is believed to happen once every 1,000 years.

An artist’s impression of a small (approx 60m) asteroid air burst disintegration over a city. Credit: Igor Zh./Shutterstock

Both of these were air-burst events, the Chelyabinsk object exploding at an altitude of some 30km, and the Tunguska object at around 7km.

The latter came apart with an energy yield of 22.79 megatons. If such a blast were to occur over a city like New York, the thermal radius (the distance at which people exposed to the blast would receive at least third-degree burns) would be 112 km, whilst the 20psi blast radius (enough to demolish buildings and cause 100% fatalities among those caught by the shockwave) would be 21 km.

A simulation of the effects of a Tunguska-sized asteroid fragment exploring some 7 km above Central Park, New York. Credit: NASA Meteor Impact Simulator

However, if the Tunguska object had been an iron-nickel asteroid rather than stony, things get a lot worse because the asteroid would be solid enough to impact Earth, causing a crater some 2.5 km in diameter. The energy yield from the impact would be around 59 megatons; the 20psi blast radius some 24.2 km; and the thermal radius 220 km, while estimated immediate fatalities would be in the 1-3 million range.

This is why decades have been devoted to identifying and tracking near-Earth asteroids in order to assess the threat of one striking Earth at some point in the future. Thus far, over 32,500 such objects have been catalogued, ranging in size from a few metres in diameter to over 1 km across (853), with over 10,500 around three times the size of the Tunguska object. While none has been identified as presenting a real threat of hitting Earth, they represent less than half of the estimated total number of potentially threatening NEAs.

With the map at the same scale, a simulation of a iron-based, Tunguska-sized asteroid fragment impacting Central Park, New York City. Credit: NASA Meteor Impact Simulator

Hence why, as well, the news that China is planning on joining the hunt to find more potentially dangerous NEAs has been welcomed. The announcement was made on June 30th, International Asteroid Day and was a little lean on details. However, based on recently-published papers coming out of China, it appears the broad plan is to establish a combined ground / space effort to hunt and track NEAs and add gathered the information to the growing international database on the subject.

The ground-based effort is to be a chain of large-aperture optical telescopes placed at advantageous high-altitude locations around the world where they can scan the skies continuously at night. In space, China is looking to launch an observatory to the Sun-Earth Lagrange L1 position where it has the Sun behind it and so can much more effectively scan for NEAs both visually and in the infrared – the latter being the route the European Space Agency is taking with its planned NEOMIR (Near-Earth Object Mission in the Infrared), due to launch in the 2030s.

This point in space is important because many NEAs come at us “out of the Sun”, so we’re unable to see them until they are literally right on top of us – or worse, have zipped by without being seen, and we only spot them as they head off back around the Sun – so if one of that had hit Earth, we’d only have known about it after the bang (if at all).

An artist’s impression of NEOMIR occupying the Sun-Earth L1 position as it observe the space around Earth for potential near-Earth asteroids which may pose a threat. Credit: ESA

In addition to the Sun-Earth Lagrange L1 position, China has indicated it may also place an observatory in orbit around Venus and another in what is called a distant retrograde orbit around the Moon. Both of these positions would again allow near-continuous observation of the space around the Earth-Moon system.

Of course, identifying a potential threat is one thing; what to do about it is quite another – which is not to say we don’t have any ideas. If the threat is identified whilst it is far enough away (or when its current orbit will not result in a collision), then the solution could be to give it a short, sharp nudge so its trajectory and orbit changes sufficiently such that it will no longer strike Earth. This is the concept put to test in NASA’s 2021/2022 Double Asteroid Redirection Test (DART), which deflected one asteroid orbiting another by slamming a spacecraft into is at a precise angle and velocity.

Moment of impact: the DART spacecraft impacts the 160-metre across asteroid Dimorphos (top) as it orbits the 780-metre diameter Didymos. The event was captured by a camera on the LICIACube satellite which piggyback to Didymos on DART before separating. Credit: Italian Space Agency

For larger objects, a proximity blast from a nuclear warhead could achieve the same by vaporising a portion of the object’s surface and generating the thrust needed to divert it. If the object cannot be deflected, it could potentially be vaporised using a combination of kinetic impactor and nuclear warhead – the impactor driving the warhead deep into the object prior to detonation, leaving a cloud of dust and debris small enough none of it would survive re-entry into the atmosphere.

Or that has been the perceived thinking until now. Also at the International Asteroid Day astronomers from the University of Edinburgh presented a paper demonstrating how dust from an impact with an NEA – and more particularly “space dust” in general – is now posing a very real threat to our ever-increasing orbital infrastructure and our reliance upon it; a threat that has not really been considered until now.

As we’re all aware, the space around Earth is getting very crowded. The number of satellites in orbit, for example has risen from 1,500 just under 10 years ago to over 12,000 today – and that number is steadily increasing. On top of this, there are literally tonnes of human-made junk in orbit – decommissioned or failed satellites, parts of launch vehicles, debris from anti-satellite missile tests, even bits of equipment lost during spacewalks. All of this has given rise to fears of a Kessler Syndrome event: a single collision between, say, a lump of junk and a satellite starting a cascade of collisions between debris and satellites until much of that orbital infrastructure (potentially including the space stations) becomes a massive orbital cloud of debris that renders large part of the space above us unusable.

Hence why there are increasing efforts to try to clean-up the “junk”.  Unfortunately, most of these rely on shunting dead satellites and other large objects into the atmosphere to burn up – which leads to a whole other problem of atmospheric pollution I’ve previously covered (see here and here for example) and outside the scope of this piece.

Some of the existing and potential future threats of dust and natural debris might generate for our growing on-orbit infrastructure. Credit: Murphy & Cannon / University of Edinburgh

However, in their paper the Edinburgh team points out that the dust created by something like an asteroid impact mission, or those that give rise to the annual series of meteor showers we witness each year  – such as the Perseids every July / August (the result of our passage through a cloud of debris left by the passage of comet Swift-Tuttle around the Sun once every 133 years), or the Geminids (the result of trails of dust almost constantly being thrown off by the asteroid 3200 Phaethon as it zips around the Sun) – is travelling at tens of kilometres per second. Just a single impact from one piece of this dust could be catastrophic for a satellite or space craft.

This certainly happened in 1993, when particles later identified as being from the dust cloud causing the Geminids struck Europe’s $1.2 billion Olympus 1 communications satellite, resulting in its loss. It is also possible (but unconfirmed) that the dust responsible for 2022’s coolant leak aboard Soyuz MS-22 may have come from the dust that generates the Geminids meteor shower.

The point here is, as the paper notes, that while many clouds of dust and particles are known, how we pass through them is variable; most of the time Earth tends to whisk through the outer limits of such clouds. But once every 2-3 decades orbital mechanics dictate that we pass far deeper through several of them over the course of a few years, experiencing far more spectacular meteor showers in our night skies.

One of those periods is due to start in 2028 and run through until 2034. It will be the first one we’ve experienced since the “orbital boom” in satellites in low and medium Earth orbit began – and right at the time we’re trying to get back to the Moon and when activities in orbit will be expanding with new commercial space stations, etc. The University of Edinburgh study suggests that just a 5% uptick in the volume of dust encountered during this period could be enough to trigger on or more Kessler Syndrome events sufficient to cause major damage to most communications, defence data, relay, GPS, and other satellites in relatively short order – and could even impact activities on the Moon or cislunar space. Or it may not; the point is, we simply don’t know.

Another problem here as well is that dust cannot be deflected, so we need spacecraft and satellites better able to deal with it. Thus, the Edinburgh study calls for the formation of two international bodies: the International Commission on Space Infrastructure Resilience (ICSIR), and WARDEN (Warning-network for Asset Resilience from Dusts, Ejecta, and NEOs).

ICSIR, an independent group of experts would investigate the aforementioned risks, and work to integrate our space-based infrastructure into planetary defence systems and methodologies, and establish a managing framework to deal with the treat in cooperation with other planetary defence initiatives.

The ICSIR roadmap. Credit: Murphy & Cannon / University of Edinburgh

WARDEN, meanwhile, would use ICSIR’s finding to work with spacecraft and satellite manufacturers to try to mitigate as many of these threats as possible through improved engineering and hardware resilience.

It’s not clear if the recommendations of the report will be taken up directly, but it does offer a startling reality check on the continuing efforts to just lob everything into orbit to solve whatever the problem of the day might be (yes, I’m looking at you, “space data centre” enthusiasts).

A return to Loch Tredach Inn and Retreat in Second Life

Loch Tredach Inn & Retreat, July 2026 – click any image for full size

The Last – and until recently, the only – time I visited Loch Tredach Inn & Retreat was in late 2024, when the region was in the depths of winter. Unsurprisingly, with the changing of the seasons comes a brighter, warmer feel to the setting and what – if memory serves correctly – are a number of small changes  to the design. All of which gives plenty of reason for a return visit.

Welcome to the enchanting Loch Tredach Inn and Retreat – a place where romance and magic come together to create unforgettable memories.

Loch Tredach Inn and Retreat About Land description

The setting is a Full private region leveraging the Land Capacity bonus, and the majority of the landscaping and décor is by region holder Isabelle Larkspur.

Loch Tredach Inn & Retreat, July 2026

I say largely, because the entire north-eastern extent of the region is given over to a private residence and its gardens and surrounds. These have been landscaped in keeping with the rest of the region by the property holder allowing them to merge seamlessly with it but are most definitely not open to public rambling. This property extends down a portion of the the east side of the region to butt up against the Landing Point.

Signs notify visitors that the land around the large house is private and a 30-second delay security system will also give fair warning before the hammer drops (to use an auctioneering term); but do take care when first arriving so as not to wander north from the Landing Point. Even with a long delay on actions being taken, encountering a warning from a security system so soon after arriving within a setting can be off-putting to the point of leaving anyway, which would be a shame because Loch Tredach has a lot that’s worth seeing.

Loch Tredach Inn & Retreat, July 2026: “Are you all sitting comfortably? Then I’ll begin…”

Outside of this residence, the rest of the region is free to explore, and so long as you heed the signs the private residence doesn’t really interfere with ramblings and spending time relaxing along the way.

As noted, not a lot had physically changed since my December 2024 visit, but the colour Isabelle has brought forth for summer totally change the appearance of the setting from one of winter’s charm, excuses for skating and the excitement around Christmas and the New Year, to one very much of beauty, tranquillity and romance.

Loch Tredach Inn & Retreat, July 2026

In my wanderings, I noted several elements I recalled from that first visit, if not their exact position in relation to one another. This made their rediscovery feel somewhat like bumping into old acquaintances. The Aviary, the ruined folly offering a bibliophile’s hideaway, the pavilions, the arching little wooden bridges – all served to pop-up in greeting as I explored.

With the arrival of summer, deer have come to enjoy the grazing of the grasslands and the shelter of the woodlands; geese patrol the shores of the inland lake, and foxes and rabbits roam and play whilst seagulls have come inland to circle overhead.

Loch Tredach Inn & Retreat, July 2026

The Landing Point sits to the east of the region as noted, being located on the south-eastern headland. It presents my kind of coffee house (“Bad Day? Coffee. Good Day? Coffee. Lots of Work to Do? Coffee”). It offers indoor and outdoor seating, with more to be found in a garden shed converted into a little summer house close by (beyond which the private land commences). A large lighthouse sits out the southern bluff of the headland, with a little camp site between it and the coffee house.

Exploring the region from here is achieved by following the path down to a covered bridge passing over the narrow channel marking the exit point from the region’s large central lake – on the shore of which the Landing Point sat at the time of my original visit.

Loch Tredach Inn & Retreat, July 2026

To the west the region retains its air of misty age and wintry mystery within the open-air event space occupying the north-west with its sense of age and history with the columns and ruins. The latter include the TLC Chapels Ruins, complete with wisps and phantoms of mist wrapping themselves around it. The Chapel is a personal favourite of mine I frequently use in my own builds, and here it offers a kind of “private” dance space set to one side of the main dance floor, although I cannot help but feel it really deserves some added décor; it was simply created to be decorated.

Alongside of this, but separated from it by a curtain wall of rock, is the mystical-feeling “winter’s gorge”.  Here is a place of great crystalline walls backed against the high blocks of rock. The waters here are eternally frozen and snow surrounds them at the feet of the tall crystals. It’s a place watched over by the Spirit Maiden and where exotic flowers grow and a stone stairway climbs a gentle turn into the clouds to reach a floating island of rock, a romantic retreat in itself. It would perhaps be nice to see this location have its own EEP setting (shape allowing), but in lieu of this I do suggest flipping your time of day over to Midnight whilst within it to full capture its beauty.

Loch Tredach Inn & Retreat, July 2026

Elsewhere, there’s the gentle looping walk that carries visitors to the reading nook folly as it and converted shed before returning to the large red house which sits to the south of the region on the main paths coming down from the Landing Point, and which appears to be open to the public. There’s also the path up another gorge to a little snug overlooking the feet of the waterfalls which created the gorge and fee its fast-flowing stream.

And all of this barely touches on the level of detail awaiting discovery. These include multiple places to sit, some obvious, others tucked away and perhaps easily missed. Itan dancing columns are also to be found throughout the region giving people the freedom to dance almost anywhere (including up on the floating island!), and more.

Loch Tredach Inn & Retreat, July 2026

Whilst the public expanse of the region has its own Shared Environment which gives it a further air of romantic mystery, it also lends itself to other EEP settings for those wishing to experiment with their photography (I’ve used one personal EEP for the photos here). All of which reaffirms Loch Tredach Inn & Retreat an ideal visit and photogenic visit.

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2026 week #28: SL Open Source meeting: OpenGL

Hippotropolis Theatre: home of the OSD/TPVD meeting
The following notes were taken from:

  • My chat log of the Open-Source Developer (OSD) meeting held on Friday, July 10th, 2026, together with my chat log of that meeting.
  • Pantera’s video of the meeting (embedded at the end of this article) – my thanks to her for providing it.
Table of Contents

Meeting Purpose

  • The OSD meeting is a combining of the former Third Party Viewer Developer meeting and the Open Source Development meeting. It is open discussion of Second Life development, including but not limited to open source contributions, third-party viewer development and policy, and current open source programs.
    • This meeting is generally held twice a month on a Friday, at 13:00 SLT at the Hippotropolis Theatre and is generally text chat only.
  • Dates and times of meetings are recorded in the SL Public Calendar.

Official Viewer Status

  • Default viewer: Flat UI – 26.2.0.25386466510,  -“flat” UI and font update, dated May.
  • Second Life Project Viewers – Lua Editor Alpha viewer 6.1.0.23768336784, April 29.

Viewer Notes

  • 26.3 is back in development with some additional texture streaming work added. It’s currently awaiting QA testing.
  • The Lua viewer (with Linux support) still looks set to be the viewer to proceed to release status after 26.3.
  • The Graphics Care Package (GCP) viewer should be getting some attention “soon”.
    • Geenz Linden indicated that he’d to try and get more PBR fixes into GCP, and encouraged anyone with a broken environment to send details his way (+ landmarks to places that are broken vs. non-PBR).
    • The fixes for water (reflections, etc.), are “mostly there” in GCP, but there are still several edge cases that need tracking down.
    • The alpha-gamma work still doesn’t yet have a home in a viewer .

More on Updating from OpenGL

So, as everyone knows we’ve been on OpenGL for a very long time. And we’ve kicked the can on this for a while – mostly because although things aren’t moving most of the time in OpenGL land, it’s not really – moving. However, deprecation is still landing in various ways across various drivers and the like whether we like it or not, and we’re forever stuck on GL 4.1 because thanks Apple. That limits our options as far as further optimisations. But we can’t just up and move everything over night. There’s a good bit of tech debt that needs clean-up, API calls that are using a lot of older ways to do things, etc., and things that just don’t really make sense even in a “modern” OpenGL context.

– Geenz Linden, discussing plans for “after OpenGL”

  • Geenz went on to note:
    • The “first big chunk” of work – already underway and will hopefully ship with the Graphic Care Package (GCP) viewer – is cleaning up a lot of how OpenGL is used. There are still a lot of “exposed” OpenGL calls. A separate fork of the viewer cleans this up, and should be landing in GCP in the near future.
    • There needs to be work to update and modernise a lot of elements of the viewer that assume a surprising amount of old fixed function pipeline-style GL usage. This is also being worked on, and the hope is it will land in the GCP viewer.
    • There then needs to be some significant work on LLPipeline separation.
      • At its core, this means getting the rendering engine into its own library and making it so the viewer can more directly function in a headless state.
      • Whilst the viewer has had a headless mode for a while, it’ is currently under utilised, and more-or-less banks on LLRender being compiled with some flags that disable OpenGL.
      • The new library-based approach would make it so the rendering pipe is entirely its own library and optional; it just won’t have any render output on its own (it will require a render interface).
  • The current thinking at the Lab is to build a new renderer interface to replace LLRender, which can then be used to:
    • Either port the current rendering engine to Vulkan through, maybe something like an LLPipelineVulkan/ LLPipelineMetal/LLPipelineD3D12(?) + something called LLGPUDriver (which is pretty much where OpenGL/Vulkan/Metal lives).
    • Or TPVs can port in some other third party rendering engine without any coupling with LLRender.
    • Thus, the point of the renderer interface is to further decouple the viewer from the concept of rendering in the first place. Basically, there’ll like be LLRenderEngine which is probably going to be a (mostly) pure interface that LLPipeline gets to be the first consumer of.
    • He noted that this second option is still going through internal decision-making processes, and that both it and the first option are very much “a bit of a large lift”.
  • The reasons for this approach is about having an offramp from the OpenGL pipe without being super disruptive (as might be the case if the new pipeline ships prematurely, forcing people onto it similarly prematurely in a similar manner to PBR). So what is likely is that:
    • There will be an OpenGL pipeline that lingers for a while (aka “years”) as the legacy renderer.
    • Whatever lands as the “new” renderer (whether that’s a direct port to Vulkan or something else)
    • A debug setting to select which one is to be used.
  • A lot of what happens vis OpenGL overall is going depend on overall confidence in a new pipeline reaching a maturity across across a broad enough range of machines used to access SL so as to consider retiring OpenGL.
    • As such, the main thing LL will be tracking once  a project is initiated, is how well adoption is holding up on the low-end for this thing by the way. Some of those machines might be stuck on OpenGL forever, and might not get all of the shiny Vulkan stuff eventually.
  • Geenz further indicated at:
    • He’s been working on a rendering engine of his own for some time, and that is a potential option.
    • Using slang-rhi is very much an option asl well, so multiple APIs can be targeted APIs at once, and then just tweak depending on what is required to support a specific platform.
  • In terms of the up-front clean-up, etc., mentioned in Geenz’s opening statement on the subject, this was noted as being not that far away.
  • A request was made for the new renderer to support more than one pipe at a time with different camera angles, so that a single account could make use of them for shooting machinima, etc.
    • Geenz noted that this is unlikely to be officially supported.

Other Items

  • Some discussion circled the topic of “SLMesh2” (see my week #27 CCUG Summary), with Geenz noting:
    • His work on the project is liable to be more high-level, with Product Engine developers doing the coding work.
    • It will be an iterative project, with the first major element being more getting off of the current SLMesh format.
  • An update on the status of work in porting RLVa to the official viewer was requested. This was a project started a few years ago and then appeared to be moved to the sidings. No response was given, possibly because the question was missed in the OpenGL / renderer discussions.
  • A discussion on water and reflections towards the end of the meeting.

Next Meeting

Four for summer at Michiel Bechir Gallery in Second Life

Michiel Bechir Gallery, July 2026: Lo Coeur
I recently received a series of invites to visit the Michiel Bechir Gallery in Second Life and witness the July 2026 / summer exhibition there, which features four artist-photographers, three of whom present images from Second life, and the fourth photographs taken in the physical worlds and scaled for presentation in-world. Of the four, two follow clearly-stated themes, whilst the remaining two appear more free-form, albeit with undertows of emotions themes.

Through My Eyes by Lo Coeur, is a personal catalogue of her journeys through Second Life – journeys she undertakes with a positive outlook which is reflected in the bright, and in some cases suitably saturated, colours found within many of the pieces presented. Lo additionally uses a mix of styles and tone with which to present moods within several of the pieces (take, Light, Lonely, and Sky on the Water for example), whilst the use of saturation can both enhance the mood of a piece (Misty Mountain)  and encourage focus (Passion, for example).

Rich and inviting, these are pieces that help reveal the magic of exploring SL.

Michiel Bechir Gallery, July 2026: Rebeka Demjórus Tƶimişce (RebekaNLady)
Each photograph in this gallery tells a story. Not just of places and things, but of feelings, of life. Of the quiet beauty that surrounds us every day, if we stop to look. … We chose these photos not because they are perfect, but because they are honest. They capture the world as it is: messy, beautiful, fragile, and resilient. They invite you to pause. To reflect. To feel.

Rebeka Demjórus Tƶimişce (RebekaNLady) introducing her exhibition

Thus Rebeka introduces a collection of 17 photographs captured in the real world which are as rich in colour as they are in subject matter. Their sweeping range encompasses riverside views, woodlands and parks, macro studies of flowering plants, reflections on water rich in reeds or the natural detritus of nature accumulating in shallows – and more. How we respond to them – the feelings or emotions they might cause is, obviously, entirely personal and not something to be ascribed here. All I will say is that all of them do hold the eye and present outlooks on life that might easily be missed if they are looked at too quickly, with the two offered purely in monochrome perhaps conveying a deeper sense of personal message than the others.

Michiel Bechir Gallery, July 2026: Karma Nirvana

There is no introduction for the collection of 14 pieces presented by Karma Nirvana – and one simply is not required. These are pieces which speak quietly but firmly, each with a distinctive voice, of the beauty and wonder of Second Life.

I confess that I’m not sure if I’ve witnessed Karma’s work in the past, but if that is the case then it is to my loss. These are pieces captured in some of Second Life’s most familiar public regions – Loch Tredach, The Far Away, Grand Harbor Isle and so on – which may to some be instantly recognisable, but here are given new depth and meaning thanks to Karma’s use of subject, focus, angle, cropping and post-processing. Whilst no over-arching theme may have been intended here, each piece is in and of itself deeply emotive.

Michiel Bechir Gallery, July 2026: Michiel Bechir
In Reflections, photographer Michiel Bechir invites visitors into a world where surfaces, shadows and mirrored light reveal more than they conceal. Each image captures a moment in which reality folds back onto itself – water becomes memory, glass becomes emotion and architecture becomes a quiet echo of the avatar observing it.

– The introduction to Michiel Bechir’s collection Reflections

And so through a series of 12 images, Michiel takes us on a journey across Second Life, each piece offering a singular view that is subtly split through the use (most often) by reflection, encouraging us to look as much below – so to speak (or in the foreground in most cases)  as what might be taken as the primary subject within it. These are pieces where the play of light on water, of the rippling reflections and refractions of the world above are, together with lighting and tone, the drivers of our emotional responses to each image. Relying most particularly on the use of EEP settings more than post-processing, these are works all waiting to tell a story to the ears that are ready to hear.

Four excellent and engaging exhibitions sitting under a single roof.

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Albane’s Garden of Silversides in in Second Life

Garden of Silversides, July 2026 – click any image for full size

Albane Claray is the genius behind the  Village de Roqueblanche, which I visited back in 2022 and Les Secrets d’Albane, now sadly gone from SL, but which captured my eye back in 2025 with its tiny size and huge beauty . She is also responsible for a host of regions designs, public and private, across Second Life she has brought to life on behalf of their owners. 

Albane is also the creator of Garden of Silversides, a public retreat of just over 7,00 square metres sponsored by estate holders Blackwater property Rental. It’s a setting proving (again) what can be achieved with a small about of land space and land capacity, and how a location with a substantial change in elevation within its relatively small size can be used to create something very special.

Garden of Silversides, July 2026
A place where souls wander and where the softness of the night invites you to stroll along the paths.

– Garden of Silversides About Land description

Located in a fold of land marking the start of the north-west headland of Nautilus, Garden of Silversides presents a heaven of tranquillity wrapping themes of fantasy, exotic plants, tumbling falls and quiet, still waters. Within it is not only an atmosphere of peace and harmony, but also of eternal mystery befitting of the elves of Tolkien, particularly when seen under the Shared Environment EEP settings.

The uppermost elevation of the setting is where the Landing Point resides, just outside of the main building. The latter takes the form of an elven cottage that would not be out of place within Imladris. It is a design by Compulsion Overdrive I’ve always admired and oft wondered about using. Here, Albane has taken its natural beauty and turned it into something truly extraordinary and captivating inside through the use of art, water, plants and décor, presenting a place where the imagination can become immersed in weaving tales and legends, the giant books to be found within and just outside perhaps spurring those tales on.

Garden of Silversides, July 2026

Paths run around the outside of the cottage to offer routes of exploration for the inquisitive. They wander through the garden and up and over the curtain cliffs dividing the setting from the local road as it passes the northern edge of the parcel.

These paths are worth exploring as they weave overground and underground to eventually reveal more of the setting’s secrets – which are waiting to be discovered amidst the natural and exotic flora. The latter feature elements by Elicio Ember, whose name helps further the elven-fantasy spirit inhabiting the Garden, whilst the plants themselves add to its exotic beauty and sense of mystery.

Garden of Silversides, July 2026

One of these paths has a spur leading down to the mid-level of the Garden. Here further water features await discovery with a wild flowered glade between them sitting in the shade of a dogwood tree standing like a great horned beast looking out to sea. From the glade, the way down continues by way of steps cut into the rock, presenting a way down to a waterfront lawn and a summer house matching the elven design of the cottage.

This is a place of romance as well as retreat, the large mushroom-canopied bed in the summer house giving both illumination and an invitation to spend time here. A small beach sits alongside the grounds, allowing those who do tarry to listen to the soft splash and hiss of water sweeping back and forth over the sand, thoughts perhaps turning to voyages away from the coast and out to whatever might be found beyond the horizon.

Garden of Silversides, July 2026

Words  – written or spoken – really don’t do Garden of Silversides justice; the detail throughout, from the cottage and its furnishings through the gardens to the waterfalls and flowers and plants to the summer house and the secret places, are all rich and engaging.

Floating star-like spirit lights drift around the Garden adding to the atmosphere, as does the use of reflected lighting patterns. The latter suggest the play of moonlight dappling waters as seen from below; they drift and turn over grass, flowers and water alike, further enhancing the Garden’s ethereal nature (and are a reason the setting really should be viewed under its assigned EEP settings).

Garden of Silversides, July 2026

In all, a thoroughly engaging location, one definitely worth the time spent within its glades and under its eaves and its canopies of leaves.

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Product review: the WALT River 400 Hop in Second Life

The Water Air Land Technologies (WALT) River 400 Hop by Ape Piaggio, a super little boat

Several months ago now, Apo Piaggio passed me her – then – latest creation, the WALT River 400 Hop, a compact little speedboat which is ideal for exploring inland waterways – as the name suggests – and also does very well out on open waters.  I’ve been meaning to review it for a while, so my apologies to Ape to only just recently getting to it.

The first thing to note about this boat is that at L$2,900, it is literally packed to the gills with features and capabilities which make it easily among some of the best small boats (and larger ones for that matter!) in Second Life.

The package comprises the boat, a trailer for moving it around on land, a neat little owner’s HUD in the form of a Smartphone and a box of accessories which includes 2 texture sets (1024 and 2048 resolution); the trailer mentioned above, an avatar adjustment tool; a “Hook” tool and script allowing the trailer to attach to a vehicle (preferably with a towing hook) and the excellent user manual.

The River 400 Hop alongside Ape’s Little Bee speedboat as a size comparator

In terms of size, the River 400 Hop really is small – small that the Bandit 170, which I reviewed back in April 2020 and thoroughly enjoy using, and under half the length of Ape’s ever-popular Little Boat power boat (reviewed in 2015). Like the latter (and the majority of Ape’s vehicle releases) comes neatly packaged in a box feature a miniature of the boat and its trailer.

Handling the boat is presented with keyboard, chat and HUD options, depending on your preference. There is also a comprehensive set of chat commands both for operating the boat and for things like lounging in the seats, setting up on-board options such as the Bimini or canvas “tent” (if out in bad weather!) or permissions for driving the boat, etc. Some of these may trigger dialogue menus in the top right of the viewer window, and the complete family of dialogues can be triggered by simply touching the sides of the boat. I’m not going to go through all of them here as there is that comprehensive user guide – so RTFM 🙂 .

The River 400 Hop’s HUD presents itself as a Smarphone with icons (lfet) to access the various functions such as general status (centre) and navigation (right). The icons themselves are very easy to remember once used a couple of times. HUD operation is covered in full in the boat’s user guide.

The easiest way to start / stop the outboard motor is by typing “start” or “stop” in chat from the driving seat, whilst mooring can be achieved with the “moor” command – moor on that in a bit. Steering is via the Left / Right arrow keys (or A and D if you have your viewer set that way), the Up arrow key (or W) gradually increases the throttle for forward motion, the Down arrow key (or S) retards the throttle for slowing or shifts the boat into reverse. Meanwhile Page Up (or E) steps up the throttle in 50% increments or set it to neutral if moving in reverse; similarly Page Down (or C) will also set the throttle to neutral if moving in reverse, otherwise will set reverse speed to 50%.

As the boat has an outboard motor, this can be manually raised / lowered and trimmed using SHIFT-Left arrow or SHIFT-Right arrow respectively, or the boat can be set to automatically raise or lower the engine when stating / stopping, and to auto trim during operations. Again, more of this in the manual.

Overall the boat handles well – although for river cruising, I would advise against setting the throttle too high; the River 400 Hop is nippy and can pinball along rivers if you’re not careful. The boat includes a region crossing recovery system as well, easing the pain there.

The boat can reach a fair speed on the open water and offers various camera positions for driving.

There is a range of sitting poses for when moored and the seating can become bench recliners with singles and couples poses (all accessed via the dialogue menu’s Seats option), while the front seat can be adjusted by touch and the rear seat touched to reveal the fuel tank – like many of Ape’s vehicles, you have to give the River Hop a drink every so often to keep it going! A ladder for swimming on the left stern quarter can be raised / lowered.

Mooring is one of the interesting aspects of this boat. Issue the Moor command, and the appropriate dialogue will be displayed, given you various choices for mooring – which may vary depending on set-up / where you are. Again, the user guide explains all, but it’s worth mentioning the mooring buoys and side-to-side options.

  • The mooring buoys allow you to effective “moor” the boat anywhere and maintain station, the boat sitting between a pair of fore-and-aft buoys.
  • Side-to-side allows you to tie-up alongside other River 400 Hop boats and (in the future) other WALT boats.

There is an option to drop anchor, but this is also part of the boat’s realism functions which help lift the experience of using the boat. In essence, with the realism options available, you have to correctly position the boat in order for the anchor to work – the HUD can help with this.

The small size of the River 400 Hop coupled with its easy low-speed handling make it ideal for pootling around inland waterways such as the rivers of Bellisseria.

These realism options allow the boat to respond to both the effects of the SL wind, such that it will drift when the engine is off or at idle (unless moored) and the wind can also affect the boat’s head as well, depending on the direction. All of these options can be toggled by the dialogue menu system, as can the boat’s rocking motion (often found in water craft). As with many of Ape’s boats, as well as periodic refuelling, the engine on the River 400 Hop should be monitored against high temperatures.

Anyone familiar with Ape’s Little Bee knows that it includes a trailer and a VW Beetle, allowing it to be carried by road. The River 400 Hop boat offers a similar capability, albeit with some differences. Firstly, there is no “winching” capability on the trailer to haul a boat out of the water and onto it using a suitable slipway. Instead, with the trailer close to water, its own menu system can he used to rez a version of the boat in-world (rezzing permissions allowing)  and hide the version on the trailer, and vice versa, if taking the boat “out” of the water. Secondly, rather than having a dedicated towing vehicle, the River 400 HOP comes with an experimental tow system which can be used to hook-up the trailer to almost any vehicle. There’s even an included tow hook if your vehicle doesn’t have one!

This approach does complicate custom painting the boat if the trailer is used – the version on the trailer will need to be repainted as well if it is to match. Suggestions on how to achieve this are in the user guide. However, to get a version of your customised River Hop rezzed by the trailer, simply edit the trailer, delete the version of the boat in its contents and then drop a copy of your version into the trailer.

The trailer comes with its own comprehensive menu system for fine-tuning control when towing, toggling the light on/off etc. Whilst experimental, it is fun. The boat can also do its share of towing –the AA tube, AA Banana or Ape’s own FI Wakeboard. Again, the user guide covers this.

With a host of additional features – fender rezzing, weather cover rezzing, region crossing recovery steps (if things go wonky), a nice security suite, etc., – all typical of the care Ape puts into WALT products, the River 400 HOP is a nifty little thing and offers plenty of opportunities for fun.

The River 400 Hop

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