Space Sunday: Rocket Lab’s rise; visiting an asteroid and a planet’s atmosphere

Rocket Lab: the launch of VICTUS HAZE, the upper stage and payload fairings of the Electron rocket; the Pioneer Demonstrator payload. Credit: Rocket Lab

Rocket Lab, the New Zealand / US company, has made a name for itself in the smallsat market – possibly the fastest growing sector of the space industry – both as a launch provider via its Electron rocket (around US $7.5 million per launch). It’s one of the most successful commercial space companies going (although still to consistently earn a profit), and it is growing its reputation both in the commercial sector and in support of US government-related launches.

In this latter regard, in June 2026, the company set a new benchmark for military responsive space operations under the United States Space Force’s (USSF) TacRS – TACtical Responsive Space – programme. This is a programme designed to place satellites into orbit on short notice during a crisis. VICTUS HAZE, the test involving Rocket Lab, tested the concept under demanding timelines and cleared several milestones well ahead of schedule.

In particular, the company was able to take a payload – their Pioneer demonstrator of a satellite they have been specifically developing to meet USSF requirements – from storage through ground check-out, fuelling and integration into a launch vehicle and thence to orbit in under 17 hours, beating the previous TacRS test mission’s record by 10 hours. Key to this was Rocket Lab’s ability to complete all trajectory guidance calculations in order for Pioneer to rendezvous with its intended target in just 4 hours, including coordinating all the required ground tracking stations around the world.

While the launch didn’t shave time off of the satellite’s on-orbit initialisation process, it still meant that within 3 days of launch, the satellite was ready to begin rendezvous and proximity operations (RPO) with a target a vehicle in a simulation of chasing down and observing a Chinese satellite which had itself been launched in order to snoop on an orbital asset operated by a western nation.

The success with VICTUS HAZE further enhanced Rocket Lab’s status as a company that delivers on its promises. Whilst specialising in the smallsat market – perhaps the fastest-growing sector of the commercial space industry – using its Electron rocket putting small payloads in orbit for around US $7.5 million a shot, the company is far more than a launch provider.

As well as providing launch vehicles for customers, Rocket Lab has a dedicated satellite development capability enables the company to provide the payloads customers are seeking to fly. Further, and as demonstrated by Victus Haze, Rocket Lab has the ability to manage and co-ordinate satellites in orbit on their client’s behalf – Pioneer remaining under Rocket Lab’s operational control on behalf of US Space Command. Thus, the company is able to provide a full vertical stack of satellite development, launch and operational capabilities to customers.

While Electron, with its current maximum payload capacity of 300 kilos is the most well-known of the company’s rockets, it is not the only vehicle Rocket Lab operates. There is also the Electron-derived HASTE vehicle, specifically designed for flight test opportunities in the hypersonic and suborbital system technology development field.

The DART AE demonstrator, built for the US DoD by Australian company Hypersonix, mounted on its launch bus ahead of integration into a Rocket Lab HASTE launcher. Credit: Rocket Lab / Hypersonix

A HASTE vehicle was most recently used in February 2026 to lift the DART AE hypersonic demonstrator to a release altitude where it could test advanced propulsion, materials, sensors and guidance systems under real hypersonic flight conditions (5x the speed of sound). Built by Australia’s Hypersonix on behalf of the US DoD, a unique part of DART’s design is that the scramjet engine it uses is 3D printed.

In a typical twist of humour reflective of Rocket Lab’s CEO, New Zealander Sir Peter Beck, the rocket used to successfully launch and deploy DART AE for its (also successful) test flight was called That’s Not a Knife – a reference to an iconic scene in the film Crocodile Dundee, thus referencing the Australian heritage of hypersonic vehicle.

As I’ve reported on several times in these pages, Rocket Lab is also developing a new reusable medium-lift launch vehicle (MLLV) called Neutron. This is due to make its maiden flight later in 2026, and has already gained worldwide recognition for it novel approach to payload carrying.

An artist’s rendering of Rocket Lab’s Neutron rocket and its “Hungry Hippo” payload doors. Credit: Rocket Lab

Rather than have the payload and the upper stage of the rocket mounted on top of the first stage, they are mounted inside the rocket’s first stage behind a pair of clamshell doors which will open up to release both – giving them the nickname of the “Hungry Hippo” – before closing to allow the complete booster to return to Earth.

Currently, Neutron is expected to make its maiden flight later in 2026, despite the loss of a propellant tank intended for the first flight-ready vehicle during pressure tests in January, 2026. The company has reported that it is now entering into vehicle integration, ground-testing of both the rocket’s main Archimedes engines and the vacuum-optimised version used in its upper stage is proceeding, and the construction of the new Neutron- capable launch pad at the Mid-Atlantic Regional Spaceport (MARS) within NASA’s Wallops Flight Facility, Virginia is complete.

A Rocket Lab Archimedes methlox (methane / liquid oxygen) engine designed for the company’s Neutron rocket, undergoing testing at NASA’s Stennis Space Centre, Mississippi. Credit: Rocket Lab

Through its unique design and the reusability of its first stage, Neutron will be able to deliver up to 13 tonnes to low-Earth orbit with the first stage reused. This might not sound much compared to Blue Origin’s New Glenn or SpaceX Falcon Heavy, but it actually places Neutron right in the sweet spot of launch capabilities: able to meet requirements of 98% of all commercial payloads through until the end of 2029 (were all those contracts up for grabs). Thus, it is well-placed to compete not only with the behemoths in the market (which have to wait around until they have sufficient payload to make launches reasonably cost-effective), but very much directly against SpaceX Falcon 9.

At the time of writing, Rocket Lab is attempting to acquire Iridium Communications for some US $8 billion. Iridium operates a network of 80 satellites in near-polar orbits (66 operational, 14 in-orbit back-ups). This constellation provides a globe-spanning network for voice and data communication from handheld satellite phones, satellite messenger communication devices and integrated transceivers, as well as for two-way satellite messaging service from supported mobile phones.

The Iridium network provides global coverage and communications relay. Credit: unknown

If the deal goes through, it will mean Rocket lab has entered another area of competition with SpaceX, Amazon and OneWeb – one which comes with an already established satellite network and 2.54 million billable subscribers (which is well short of Starlink’s 10 million). In addition, Iridium provides services for the US government, airlines, cruise ship and shipping operators. Perhaps most significantly, the Iridium system is certified for use in the Global Maritime Distress and Safety System (GMDSS) and for Future Air Navigation System (FANS) data links, neither of which is supported by the other providers, thus putting Rocket Lab in a unique position to harness new customers.

All of which speaks to a lot for a little rocket company that decided it can.

1 Launch, 1 Billion Kilometres and a Rendezvous

In May 2025, China launched one of its most ambitious missions so far: sending a robotic vehicle to rendezvous, land on and gather samples from a near-Earth asteroid (NEA) and then return those samples to Earth.

It’s not the first time there has been such a mission, both NASA’s OSIRIS-REx and Japan’s Hayabusa and Hayabusa2, have all gathered samples from near-Earth objects; however for China, Tianwen-2 (“’Heavenly Questions-2”) is an ambitious step considering the relative age of their space programme.

The target of the mission is 469219 Kamoʻoalewaa (also known as 2016 HO3), what is called a quasi-satellite because there are periods in its orbit around the Sun where it passes close enough to Earth to become temporarily caught by Earth’s gravity, orbits the planet numerous times whilst continuing along its orbit around the Sun before moving off once more until the next time its orbit and that of Earth intersect. What makes 469219 Kamoʻoalewaa particularly interesting for study is that it is believed to be a piece of our Moon ejected into space when an impact created the crater Giordano Bruno on the lunar far side.

Orbit of asteroid 469219 Kamoʻoalewa showing it’s quasi-moon nature around Earth. Credit: NASA
Rendezvousing with such an object might sound relatively simple compared to sending a probe to somewhere like Mars. However, orbital mechanics mean that doing either is a complex task – particularly in the case of 469219 Kamoʻoalewaa, about which relatively little was known in terms of trajectory when the mission launched. In all, it took over a year for Tianwen-2 to close on the asteroid with frequent course corrections guided using observations from Earth, travelling 1 billion kilometres in the process.

In early June, the probe was able to detect the tiny asteroid – just 27.4 metres across – directly, rather than relying on guidance from Earth. This allowed it to initiate a capture control manoeuvre, settling into trajectory alongside that of the asteroid, matching its orbital path rather than simply crossing it. Through the first part of June, the probe gently closed the distance between itself and the asteroid to just 2,000 kilometres.

By July 2nd, 2026, Tianwen 2 had reached an altitude of 20 km above the asteroid, allowing it to commence its primary science mission. The vehicle will now carry out an intensive survey of the asteroid as it gradually decreases the separation between them until at 300m, with a sampling site determined, Tianwen-2 will attempt to touch-down briefly on the asteroid’s surface and gather around 100 grams of material.

469219 Kamoʻoalewa imaged by Tianwen-2 on 2 July 2026 from a distance of 20 km. Credit: CNSA

If successful, this will be the first time a spacecraft from Earth has used an anchor-and-attach approach method to physically fix itself on an asteroid to gather samples. Both of the Hayabusa missions and OSIRIS-REx used touch-and-go, essentially closing to a point were a sampler gathering device could make contact with the target for long enough – a couple of seconds – to gather a sample before springs in the device compressed by the mass of the spacecraft released to push it away. However, in case Tianwen 2’s anchor and attach mechanism proves unsuitable, the craft also has a touch-and-go capability for sample acquisition.

Following sample gathering, Tianwen-2 will return to Earth, ejecting its payload before heading back out into space for a rendezvous comet 311P/PanSTARRS, which it will reach in 2035.

Astronomers Discover 1st Atmosphere around an Earth-sized Planet in a Star’s Habitable Zone

LHS 1140 is a red dwarf star appearing in the constellation of Cetus (the Whale), approximately 48.8 light-years from our own star. It has 18.4% the mass of the Sun and is 21% of its radius. It is also the parent to two exoplanets – LHS 1140 b and LHS 1140 c.

Of these, LHS 1140 b, is classified a “super Earth”, being roughly 70% larger in radius than Earth and with a mass 5.6 times greater. It orbits very close to its parent star – some 0.095 AU – taking just 24.74 terrestrial days to complete an orbit. Despite this, the planet sits within the habitable zone for 1140, and because of the star’s small size, it receives around 0.43 times the incident flux – the amount of radiant energy received by a surface per unit area, typically expressed in watts per square meter (W/m²) as Earth does.

For some time since its discovery in 2017, observations of LHS 1140 b during its transits in front of its parent star have suggested one of two things: either it is a large rocky world with an atmosphere and perhaps 19% of its surface being water; or it might be a mini-Neptune with a really dense, hydrogen-rich atmosphere. To try to determine which of these might be true, in September 2024 a team of astronomers carried out a 6.5 hour observation of the planet’s transit in front of its star using the Magellan Clay Telescope at Las Campanas Observatory, Chile. During this period, the team measured an excess absorption feature consistent with helium, which they interpreted as a hydrodynamic atmospheric outflow driven by stellar X-ray and extreme-ultraviolet heating.

In other words they detected both an outflow of helium from the planet, indicating it has a potentially helium-rich atmospheric envelope consistent with a world. A further study in 2025 further resulted in measurements consistent with the September 2024 study, minus no excess helium absorption, suggesting the planet’s atmosphere is relatively stable atmosphere which is not constantly outgassing under the influence of a solar wind from its parent star. That the atmosphere appears to be predominantly helium also means the indications that water could exist on the planet’s surface are likely accurate.

An artist’s impression of the limb of LHS 1140 b and its parent star, LHS 1140. Credit: ESO

Of course, being classified “Earth like” and having an atmosphere does not mean there is life on LHS 1140 b – nor does the fact it sits within its star’s habitable zone. However, all of the data gathered suggests that LHS-1140 b has a temperature at least equitable to Earth’s Polar Regions so the water on its surface could well be in part liquid, rather than totally frozen; and if the atmosphere is sufficiently dense, then surface conditions could be a lot warmer, and so more liquid water might be present.

Two of the key determinants in assessing whether a planet like LHS 1140 might be capable of supporting life once it has found to have an atmosphere and the potential for liquid water are: how active is the parent star, and whether the planet is tidally locked.

Most red dwarf stars tend to be violent places; their small size means they suffer powerful convection currents which can led to violent flaring and other outbursts fully capable of ripping the atmosphere away from a planet as close to it as LHS 1140 b is to its parent. However, at an age close to that of our own Sun, LHS1140 is surprisingly clam for its size, meaning there is a good chance of LHS-1140 b retaining its atmosphere for long enough for life to potentially take hold.

Tidally locked refers to a planet being so close to its star that it ceases rotating about its own axis and instead keeps the same side facing the star (like the Moon keeps its same face towards Earth). In these situations, it means that one side of the planet is in perpetual sunlight whilst the other is constantly exposed to space and thus to freezing. This can lead to the planet have extreme weather, particularly along the terminator between the day and night sides of the planet. However, such conditions don’t necessary rule out such a place supporting life – but it does make it harder.

As such, there is still a lot more that needs to be understood about LHS 1140 b, but the fact we now have what appears to be the first direct evidence of an atmosphere around another world means we will likely be able to find others.

MORPHSIS: art and the question of what we are, in Second Life

Subcutan Gallery, July 2026: Sophie de Saint Palle – MORPHOSIS
I am fascinated by the idea that the body does not reveal a person’s character, but that the mind creates its own form. The anatomical transformations are therefore neither physical deformities nor products of fantasy. They are metaphors—visible traces of inner states, thoughts, and attitudes.

– Sophie de Saint Phalle (Perpetua1010) on MORPHOSIS

So reads part of the introduction of MORPHOSIS, a collection of 11 pencil and ink drawings on cotton rag paper, exploring the contrast between outwards appearance and inward nature by Sophie de Saint Phalle (Perpetua1010), and which opened at her Subcutan Art and Architecture Centre on July 15th, 2026.

Subcutan Gallery, July 2026: Sophie de Saint Palle – MORPHOSIS

We all like to consider ourselves balanced individuals with a broadly positive outlook on life, capable of meeting the challenges of life good and bad with a solid, well-adjusted ability to manage.

But this is not always the case; people can be overcome by darker, more negative feelings and emotions to the point where that well-adjusted balance is lost. Instead, the likes of fear, hatred, anger, fanaticism – even jealousy and despair can become the driving forces of their lives, either as one all-consuming outlook, or in some combination or other. It is not always obvious that a mind has been so affected; not when considering a person’s outward appearance.

But what if there were? What if deep-seated negative feeling and thoughts, were to be manifested in our appearance?

Subcutan Gallery, July 2026: Sophie de Saint Palle – MORPHOSIS

Within MORPHSIS, therefore, Sophie offers-up drawings of the human body which are not perfect and devoid of the classical lines of beauty one might normally associate with such studies; instead, they are marked by subtle imperfections. Their purpose is to act as a leaping off point for our imaginations within the context outline above: that of negative imbalances of the mind becoming visible. In viewing them we are asked not to see their imperfections as being part of the artistic process, but rather as the darker inner self writ large for the world to see.

Within this context we are then challenged to ask ourselves: If my mind, my imperfect thoughts, were to be manifested in my appearance, what form would I take? What might I see reflected in a mirror?

Subcutan Gallery, July 2026: Sophie de Saint Palle – MORPHOSIS

A layered, personal thought experiment through the use of art, MORPHOSIS is an an intriguing, well-presented and challenging exhibition. My thanks to Sophie for the invitation to visit.

SLurl Details

  • MORPHOSIS, Subcutan Art and Architecture Centre (Cobian Lane, rated Adult)

Wandering a Storywood Sanctuary in Second Life

Storywood Sanctuary, July 2026 – click any image for full size

I was back on my jaunt around the Mainland once more, seeking cafés and coffee houses that offer neat little corners of the Second Life experience. Once again I found myself I Heterocera, but this time south of the atoll compared to my previous visit to take in Hi Cafe.

My destination this time was Storywood Sanctuary, the work of the Wild Abundance team founded and led by Aphiris Moris (Aphiris Mercury).

Storywood Sanctuary, July 2026
Welcome to Storywood Sanctuary! Here, you’re invited to wander through lush landscapes, dream under the shade of ancient trees, and savour a freshly brewed coffee. Enjoy the magic of this haven, where every corner holds a story.

– Storywood Sanctuary greeting

Located just to the north of Mock Heather Road and not far from the lake on the south side of that road, Storywood Sanctuary is one of two locations designed by the Wild Abundance team in close proximity to one another (I’ll be covering the other in an upcoming piece).

Storywood Sanctuary, July 2026

Covering a little over 6,000 square metres, the spot is – as the name suggests – literary themed, focusing on stories and books, and is LGBTQIA+ friendly.

The Landing Point sits within on a trellis-covered deck bearing the location’s name and where books and a table covered in the pages of a manuscript further hint at the setting’s theme. Just mind you don’t wake up Francine as she sleeps close by!

Storywood Sanctuary, July 2026

From here, a path winds through the setting, meandering past little motifs and details related to books or hinting at stories. These are nicely done with, for example, The World of Christopher Robin leaning against a tree stump on which a bear is asleep (possibly from enjoying too much honey?); while just off the path, a large copy of Mary Poppins has fallen open to allow three carousel horses to fly out, recalling a scene from the book (and perhaps more vividly, Disney’s take on the book). Feel free to sit on any of the horse for a photo.

In addition, on the approach to the coffee shop it is possible to see the stone figure of a little girl who might be taken as a certain Alice. Not too far from her and mottled by sunlight, is a glass coffin beneath a tree. Roses grow under its cover, but the reference to a certain story by the Brothers Grimm is clear.

Storywood Sanctuary, July 2026

Along with these motifs is much else to please the eye. There’s the friendly garden troll under the bridge, the flowering books along one bank of the stream and vying for attention with the butterflies made from printed pages. There are animals and birds to be found throughout; there’s tree trunk offering the chance to take and share stories, and more.

Obviously, there are places to sit throughout, from the library / reading room alongside the Landing Point deck all the way through to the coffee shop (and beyond), with some of quite interesting designs (three particularly in keeping with the book theme).

Storywood Sanctuary, July 2026

Not all the places to sit are on the ground or necessarily obvious (again, one of the very booked themed places might not appear to be so but for the brazier with its little fire sitting in front of it) – so taking a good look around as you follow path around the setting is recommended 🙂 .

Beyond the coffee shop is a further garden space available for wandering, a rutting track forming a loop around it while flowers of a more exotic nature grow and a forest carousel turns in time to fairground music, whilst the laughter of children (or wood nymphs?) might be heard by those with local sounds enabled.

Storywood Sanctuary, July 2026

Cosy and charming, Storywood Sanctuary is a place that does exactly what its name implies: takes you into a garden of stories and present a setting in which sanctuary from the pressures of daily life might be found.

Slurl Details

The Irelund Museum of American Art in Second Life

The Irelund Museum of American Art

Back in June 2026, I received an invitation from Rowyn Mariposa (MzStiX) to visit a new endeavour by her fiancée, Pamela Irelund, the Irelund Museum of American Art. It’s taken me over a month to get around to actually visiting – so my apologies to both Rowyn and Pamela for this.

Located within the Second Norway estate – and in fact little more than a couple of good stone throws from where I have my island home, so there was really no excuse for not visiting sooner, given the museum can easily be reached by boat!) – the Irelund Museum occupies a large, modern building of single level design, partially extended by Pamela herself.

The Irelund Museum of American Art

For those arriving by teleport, the Landing Point is located within the inner fountain courtyard of the museum, and it is here that any exploration should begin. For those arriving by boat, take the steps up from the mooring to the the door at the top of the steps, then follow the red carpet in front of you down to where the courtyard opens up on the right.

In all, 10 areas (labelled as rooms) plus a hallway, present American art from across the country’s modern 250-year history. The art is arranged chronologically by room and the rooms proceed in a clockwise manner from Early American Portraits, Hudson River School and Tonalism (located in a blue room to the south-east corner of the building) through to Cinematic Realism and Political Art, with the courtyard offering the museum’s single piece of sculpture: Steppe by Antoni Milkowski and a large reproduction of Dream Garden by Maxfield Parrish and Louis Comfort Tiffany.

The Irelund Museum of American Art

A highly informative catalogue of the museum’s main displays can be found at the large desk in the fountain courtyard. This provides an introduction to the museum, together with biographical thumbnails of all the artists responsible for the pieces on display, again divided by room.

Designed as a HUD, it is a little large to be opened and read when viewing individual pieces, but it can be minimised easily by clicking the eye-with-a-bar icon within the left and right navigations areas. This will close and reduce the catalogue in size; clicking on the catalogue again will open it at the last page viewed (and will do so, even if detached, allowing interrupted visits to be resumed easily).

The Irelund Museum of American Art

Across the fountain courtyard is the Special Exhibitions room, which at the time of my visit this was hosting Fantastic Dreams and Wistful Reality: Maxfield Parrish and Norman Rockwell. A smaller desk just outside this room offers a catalogue specifically for this exhibition, and which operates on the same basis as the one described above. And, incidentally, you can reach Room 1 of the museum’s exhibition spaces by cutting through this space.

In terms of copyright, all of the works through to 1928 are out of copyright; those after that year are within copyright. However, the museum does not sell any of the images, and all are provided for educational / informational purposes, and intentionally presented in low-resolution, thus helping the museum meet the requirements of fair use as defined for copyrighted works under US law.

The Irelund Museum of American Art

A group has been established for the museum for those wishing to keep up with events and special exhibitions, and the joiner can again be found in the fountain courtyard.

The Irelund Museum of American Art is clearly a personal labour of love, built out of knowledge of the subject. It is also highly informative and a pleasure to visit and tour. Within it is a further demonstration of the ability of Second Life to both bring art to an audience which might never otherwise to be able to appreciate all of the pieces as a single exhibition, and as its ability to inform and educate.

The Irelund Museum of American Art

My congratulations to Pamela on her work, and my thanks to Rowyn for the invitation.

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Pususaari’s summer of 2026 in Second Life

Pususaari, July 2026 – click any image for full size

Over the years there have been places within Second Life that have called me back to them again and again, either to write about or simply to enjoy. Currently, one of my favourite places where I find I can do both is Pususaari, the Full region held and designed by Lu and Leelou Von Perkle (Lu Carrillo and LeeLou Graves respectively).

Since it first appeared in SL as a Homestead region design, Pususaari has always been a place of beauty and romance, changing with the seasons but always remaining true to its core.

Pususaari, July 2026
Pususaari is a peaceful island made for wanderers, photographers, dreamers, and curious hearts. Since 2025, it has been a place to explore soft meadows, quiet beaches, animals, hidden corners, old stones, cosy places, and little scenes waiting to become your next story. Come alone, with a friend, or someone special — slow down, look closer, and feel at home.

– Pususaari’s Destination Guide entry

Pususaari, July 2026

For this iteration, Pususaari takes the form of a rugged island with a Mediterranean touch to its architecture. With beaches to the south to particularly catch the Sun and split by a sheer-walled headland, the island sits under a perfect EEP setting (so viewing the region under its Shared Environment is highly recommended).

The Landing Point sits on a wide terrace overlooking the broader of the two southern beaches. It shares the terrace with a large villa serving as a patisserie-come-office-come art gallery (upper floor). There is plenty of outdoor seating on the terrace, whilst steps to one side climb up to the island’s main plateau and the farm occupying its west side.

Pususaari, July 2026

Steps also sit on the other side of the villa, these descending to a flat, paved shoulder of the island, home to the Tipsy Crane tavern (a very appropriate reference to other parts of the island, as will become clear) and the Pususaari store. The latter offers three very reasonably-priced collections of animals: otters (14 in the pack), cats (again, 14 to a pack) and puffins (17 to a pack).

All of the packs are offered with both Blinn-Phong and PBR materials and are copy / modify. When exploring the island it is possible to come across the cats and otters and get a real appreciation for how delightful and well-made they are.

Pususaari, July 2026

From the terrace serving the inn and souvenir store two further sets of steps, one to the southern side of the beach, the other to the beach as it runs up the eastern side of the island toward the northern cliffs.

While there is open ground to be reached beyond the souvenir shop, the best way to reach the uplands of the region is either by following the east beach to where aged steps start to climb up the slopes of the escarpment, or take the steps from the main terrace up to the farm and the go onwards from there.

Pususaari, July 2026

The farm points westwards and is small, but still has a field for dairy cattle and two for growing crops – corn, in this case. Beyond the fields, the land opens up into a wide paddock, home to horses and donkeys, a swing in the shade of a large oak tree offering a place to sit.

The main part of the plateau uplands is given over to a large and quite eye-catching body of water bounded by a sweeping arc of grass and wildflowers running from the farm and around the east side of the water.

Pususaari, July 2026

This lake-sized body has been made into a summer home by red-crowned cranes (hence the reference in the inn’s name), which are happy to share the water with the local otters (and vice-versa). Humans are welcome as well, as there is a cosy little waterside open-fronted shack to one side of the water. Just behind this more steps climb up to the highest point on the island, crowned by standing stones.

The north side of the water forms a shallow arc of waterfalls dropping away to the lowlands. This lowland area is again quite spectacular and can be reached by following – you guessed  🙂 – steps leading down from the horse paddock.

Pususaari, July 2026

The waterfalls have created a further pool of water where more cranes and their young might be found, and which is largely separated from the sea by a wide sweep of land where tough grasses and flowers grow and trees brave what must be at times be rough weather, going by the one that has fallen. There are several places to sit tucked away here, including one among local seals.

The waters from the falls find their way to the sea via a narrow channel they have forced over time, including through an out-thrust of rock which now forms a high arch under which the waters pass. As they do so, they also pass an old fortification, now deserted save for a lone piano within, as it sits facing the sea.

Pususaari, July 2026

Further falls drop away from the highland lake, these facing due north and separated from the others. Headlands on either side of them mean the sea below is potentially a deadly mix of eddies and powerful undercurrents as the tide and waters from the falls mix.

Throughout all of this there are multiple places to sit, high and low. They encompass a large beach house on the eastern sands together with a pergola dipping its toes into the tide; another pergola sitting right at the end of the headland separating the two southern beaches; and another summer house on the smaller and more isolated of these two southern stretches of sand. Oh, and the latter can be reached by following the tunnels carved through the intervening headland (and which also connect to the northern lowlands).

Pususaari, July 2026

As well as places to sit – singles and couples poses liberally mixed throughout – there are also wooden signs dotted around offering the chance to dance. And, of course there are the Pususaari cats. They are quietly spread throughout the island, keeping an eye on all that is going on (even if one does appear to be more interested in the ducklings swimming in the inland waters and carefully remaining outside the reach of swiping paws!).

As I’ve noted, Pususaari has become an established favourite of mine, and with each iteration, Lu and Leelou continue to produce the most remarkable locations to visit. Long may it continue!

Slurl Details

2026 week #29: SL CCUG meeting summary

Hippotropolis Campsite: venue for CCUG meetings
The following notes were taken from:

  • My chat log and audio recording  of the Content Creation User Group (CCUG) meeting of Thursday, July 16th, 2026.
  • Please note that this is not a full transcript of either meeting but a summary of key topics.
Table of Contents

Meeting Purpose

  • The CCUG meeting is for discussion of work related to content creation in Second Life, including current and upcoming LL projects, and encompasses requests or comments from the community, together with related viewer development work.
    • This meeting is generally held on alternate Thursdays at Hippotropolis and is held in a mix of Voice and text chat.
  • Dates and times of meetings are recorded in the SL Public Calendar.

Official Viewer Status

General Updates

  • Viewer 26.3.0 is undergoing “final” bug fixing and testing.
  • Some of the team have started on some of the SL Mesh improvements which have previously been discussed  with a focus on improving workflows using existing tools (e.g. – mesh uploads, etc., not “SL Mesh 2”).
    • Feedback was requested on mesh uploads. Roxie Linden also indicated that the current work will likely be dropped as a viewer alpha build at some point in order to gain further feedback.
    • As has also been previously noted, all mesh work is to be carried out incrementally, rather than being bundled into a single large project.
    • Blend shapes are something that might be considered for mesh, but not as an initial part of the work; right now everything ins foundational.
  • There are CEF improvements inn hand that should help performance (load time, rendering speed) which will help media-on-a-prim (MOAP).
    • A request was made to incorporate MOAP support for transparent background. This was seen as quite interesting and so added to LL’s list for investigation, although it was noted there is currently no planned work for transparency at the moment.
  • The Graphics Care Package (GCP – including Index of Refraction, PBR specular, significantly improved Screen Space Reflections, HDR EEP settings, etc.) viewer is still awaiting attention.
    • Feedback and screen shots relating to an early version of the GCP viewer (when it was still called the Visual Polish viewer) can be found here.
    • Currently, the Mesh workflow improvements are slightly higher on the focus list right now.

General Discussions

  • A broad request was made for further glTF support, with the reply being LL plan to add further glTF updates that make sense “given various limitations”.
  • A request was made for larger prim sizes – this was viewed in terms of prim sizes and their impact on physics, the potential to overlap simulators, etc., they would have to be considered carefully if anything were to be done.
  • The request for a larger colour picker palette was repeated – this looks like it might find its way into the GCP viewer as that is updated.
  • It was asked if it would ever be possible for region holders to place thumbnails of their region terrain a features like roads, etc, onto the Mini-Map view of their regions.
    • This was seen as “interesting” with a side note that it could result in misleading experiences for people, it would need to be given careful consideration.
    • This sparked a general user-led discussion on the Map and Mini-Map (such as being able to upload textures for personal regions in general, both World and Mini maps; having a Mini-Map layer with detailing people could enable / disable, etc.).
  • The second half of the meeting resolved around WIBNIs (“wouldn’t it be nice ifs”) and wish lists of options and capabilities (e.g. having options available for things other than water surrounding a region without having to revert to off-region meshes – possibly something that could be achieved with additional EEP support). As ever, the Feedback Portal and Feature Requests are the way to get ideas looked at.

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