Cica Ghost once again invited me to drop into her region of Mysterious Isle and her installation for October, Lune. And given the time of year, it should come as no surprise that it is spookily themed.
I’ll make no bones about it, Lune creepily fun and offers both tricks and treats wherever you go.
Cica Ghost: Lune – October 2026
As is usual for Cica’s installations, Lune features a quote. In this case, line from Joseph Conrad’s Lord Jim, itself something of fitting choice given its focus on a young man haunted by a decision made in a moment of terror when he bowed to the pressures of his peers.
There is something haunting in the light of the moon.
– Joseph Conrad, Lord Jim
Cica Ghost: Lune – October 2026
However, rather than offering a treatise on the novel’s themes, Cica uses the quote to underscore the haunting delights of her setting, where even the Moon is looking a little skeletal in nature.
Indeed, under this Moon’s crescent, trees whip upwards like tentacles, a graveyard lies is shadow, some of its occupants attempting to rise even and others are already wandering abroad. At least one even appears to have returned home!
Four
This is a place where crows and vultures watch all that happens and bones lay scattered across the ground.
In the middle of all of this, an little quintet of Trick or Treaters appear to have wandered – one of whom has something of Cica’s own look about her as they glance nervously around, there costumes fitting the setting even if their eyes are wide in possible trepidation.
Cica Ghost: Lune – October 2026
This is a place where even the term “bat mobile” takes on a near literal form as it provides one mode of transport, the other being a little more gruesome. Not that it prevented me from, umm, revving up with fellow blogger and Second Life traveller, Sam Rougefeu (Dodderi Haifisch)!
Finished with a very suitable audio stream – do have music enabled when visiting – Lune brings a lightness and sense of fun to Halloween that’s delightful in its touch and difference to the darker region themes that tend to come out at this time of year!
Cica Ghost: Lune – Sam Rougefeu takes to a BAT mobile to avoid my SKUL(L)duggery 🙂
Dido Haas dropped me a line concerning an emotive exhibition by Second Life artist-photographer Christian Carter due to open at Limoncello Gallery, operated by Dave (Lord Junibalya) with the assistance of Fenella Allen, on October 1, 2026.
Dido’s note prompted me to realise I haven’t actually covered Limoncello since 2021, so before turning to Christian’s exhibition I will take a look at Limoncello as it sits within its most recent location and remains one of the longest-running art collections in Second Life.
Limoncello Gallery: Janus Fall, Sina Souza and Diconay Boa
The collection was originally founded nigh-on 20 years ago (at the time of writing) by the superbly-named LastDitch Writer in 2007, and stood as a private collection within the unique environment of a massive airship. In 2011, LastDitch departed SL for a time after the passing of his wife (although he is now again active in-world as the Chieftain of the Clan McDitch and live at Nyuvegan Castle on the Isle of NyuSkye).
Rather than vanish from SL, Limoncello passed into the care of Dave. In 2020 an annexe opened in Bellisseria, which I covered at the time. However, the main gallery now sits in a towering skyscraper rising over the City Borough of Manda Vale, itself located high above NyuSkye.
Limoncello Gallery: Janine Portal, Louvre, Stephen Venkman, April Acorn and Prins Evergarden
The many floors of the skyscraper contains pieces by artist right across Second Life, featuring SL landscapes, avatar studies, 3D pieces, physical world paintings. And yes, right up on the roof the airship with its gallery spaces is moored, reached via the Experience-based teleport doors on both the roof of the skyscraper and on the ground floor, where a similar teleport door connects to the Bellisseria annexe.
Movement between floors in the gallery is via elevator, which is where I have a minor niggle. Whilst “real”; the elevator is painfully slow if it is more than a couple of floors away from you. Perhaps a teleport or-whilst space-intensive – stairs might be a better choice.
Limoncello Gallery: Royal Shippe and ArtemisGreece
But be that as it may, the entire gallery is more than worth a visit for its collective history of Second Life Art. Also, while visiting, Amanda Tamatzui has a gallery a short walk from Limocello’s front doors, whilst the far side of the Bellisseria Consulate (facing Limoncello’s tower) is Art Galleries of Second Life, presenting teleport portals to many of the galleries to be found in-world.
Christian Carter: After You
Which brings me to Christian’s After You, located within Limoncello Tower. This is a small but emotional collection of pieces mixed with text elements. To describe it, I’ll simply use some of Christian’s own words.
These photos grew out of an experience of absence, loss and the strange space that remains when someone is no longer there. They are not meant to tell a complete story, but to hold fragments of one.
– Christian Carter, After You
Christian Carter: After You, Limoncello Gallery
These fragments as thus presented in four parts: Before (or connection); Loss (or distance), Aftermath (or disappearance) and Becoming (or what comes after).
Each section comprises two or three images, each one highly minimalist in presentation whilst including individual styling. This minimalism and choice of style – monochrome, light colour wash, chiaroscuro and deep colour tone – serves to give all of the images there emotional depth.
Christian Carter: After You, Limoncello Gallery
I’m not going to offer any personal interpretation of the art; how each piece speaks to us is down to our own experience of loss and absence and how that shapes our response to these pieces.
All I will say is that loss does not doesn’t necessarily mean being physically without; loss can be felt as much by a sense of distance in terms of mental / emotional separation as by any physical absence (and can eventually result in the latter) – which is beautifully represented here by Christian is the second and third parts of After You.
Christian Carter: After You, Limoncello Gallery
A sublime and moving collection, perfectly presented, After You formally opens at 12:00 noon on October 1, 2026 and will remain in place through until December 31, 2026.
Limoncello Gallery is an ideal destination for Second Life art lovers, and After You is the ideal exhibition from which to commence a viewing of the collection.
The Halloween Experience: Salem 1692, September 2026 – click any image for full size
I’ve followed the work of Kaiden Tray (KaidenTray) – together with his long-time collaborator and RL wife, Pandora Ceridwen Tray (Voodoo Macabre) – both in the design of dedicated designs under the KTL Destination brand and on behalf of other region holders since 2018, and was recently intrigued by a series of notices issued via the KTL Destinations Group about a new development: The Halloween Experience: Salem 1692.
Specifically developed as a Halloween 2026 experience, Salem 1692 is another joint presentation by Kaiden Pandora. As the name suggests, it presents a return to the period of the Salem Witch Trials, offering both a come-as-you-please opportunity for exploration or to participate in guided tours – as well as special events.
The Halloween Experience: Salem 1692, September 2026
A point to note with the couple’s work is that it is always exceptionally well-crafted; they combine design, atmospherics/environment and soundscape, and this is especially true for Salem 1692.
Do please use the Shared Environment settings why visiting the Full private region utilising the Land Capacity bonus from LL – if you find it on the dark side, a lantern is offered at the Landing Point, so just ADD that to your avatar. Also make sure you have local sounds enabled.
Salem 1692 schedule for tours – click to view details
As noted, the region is open to come-as-you-please explorations (given the period and theme, dressing the part might be fun!), and there will also be guided tours exploring the history and folklore of Salem and its dark witch trials.
The latter are pay-to-participate activities, with the core details being:
Tours will be held every Friday, Saturday and Monday through October, commencing on Saturday, October 3 – see the poster to the right.
Tickets are L$500 each, available via the Marketplace or a kiosk at the region’s Landing Point.
Tickets are for any single tour – you don’t have to buy a ticket for a specific date. They are on a per-avatar basis and are transferable (not Copy), so you can purchase one and give it to a friend.
You should be available in the region at least 10 minutes prior to the start of any tour (with your ticket!). Late arrivals will not be able to join the current tour.
In addition to the tours, there will be a further series of special VIP events featuring the Legends Cabaret Dancers and Burlesque Dolls. Details on these will, according to the information provided on the experience be made available via “notices in the in world groups, social media accounts, or Discord where they will be sold”.
And if that weren’t enough, there will be a range of entertainment events, such as 3 hours of music on Saturday, October 3, starting at 14:00 SLT with Coralie, followed by Mimi Carpenter at 15:00 SLT and Amforte at 16:0, at the Forbidden Fairgrounds. Again, details of any additional event will likely be announced through the Group, etc.
The Halloween Experience: Salem 1692, September 2026
When visiting on your own, explorations commence on the east side of the region at the run-down docks. From here the best path is inland past the shipwright’s warehouses (and the teleport board linking key points in the region), to the houses behind – where a Teagle horse rezzer can be found for those wishing to explore on horseback.
Note that there is an active SL Experience within the region – so do accept this when you encounter a request from the Bee Designs Experience. If you don’t – you’ll be missing out!
The Halloween Experience: Salem 1692, September 2026
Not all of the buildings in the setting – understandably – have interiors, but those that do could be worth looking inside J .
The overall atmosphere of Salem 1692 is very well done – and the lamp given at the landing point will be required during a thorough exploration. While the main paths through the region are obvious, they are not the only route – so keen eyes might be required to find everything.
The Halloween Experience: Salem 1692, September 2026
Even the juxtaposition of things like a modern(ish!) Ferris wheel, sky spinner and other modern fairground attractions don’t look entirely out-of-place given the region’s overall theme. One might even say that, huddled in a corner of the setting as it is and even with its own spooky touches, the fairground sits in a little trepidation of the rest of the haunting and darkness across the region.
And I have to admit, the drum kit and telegraph pole in the ruins of the chapel at the Forsaken Revival Grounds look like they belong there. Although heaven knows what locals in Salem village would have made of the amp and speaker sitting on the stage 🙂 .
The Halloween Experience: Salem 1692, September 2026
There are a few rough spots within the region where physics might need adjusting – on exiting the fairgrounds, for example, I ended up walking up through the roof of the church gate there. However, these are far enough apart not to interfere with overall enjoyment.
In all, an engaging, immersive and fun region for exploration rich in detail – I’ll look forward to perhaps jumping in on one of the tours.
The Halloween Experience: Salem 1692, September 2026
The Simulator User Group meeting place at Longfellow
The following notes were taken from the Tuesday, September 29, 2026 Simulator User Group (SUG) meeting. These notes form a summary of the items discussed, and are not intended to be a full transcript. A video of the meeting by Pantera is embedded at the end of this summary – my thanks to her for providing it.
Meeting Overview
The Simulator User Group (also referred to by its older name of Server User Group) exists to provide an opportunity for discussion about simulator technology, bugs, and feature ideas is held every other Tuesday at 12:00 noon, SLT (holidays, etc., allowing), per the Second Life Public Calendar.
The “Leviathan Office Hour” meetings are held on the Tuesdays which do not have a formal SUG meeting, and are chaired by Leviathan Linden. They are more brainstorming / general discussion sessions.
Meetings are held in text in-world, at this location.
Simulator Deployments
The Nectarine update has a “pretty persnickety issue” at the network layer.
This is the ObjectUpdate UDP messages issue record in my previous leviathan Hour summary. Overall, there has been some problems with reliability reproducing the problem. given this, at the time of the making, a decision had yet to be made on the best route for a fix.
As noted in the Leviathan OH meeting, this issue can affect the 26.4 viewer, and a fix for that is also to be worked on.
It’s likely that any fix will go to the RCs, on September 30.
General Updates
Also refer to the video
Rider Linden is back on-call and investigating a couple of simulator crashers.
Leviathan Linden indicated that approval has been given for game_control to be included in the 26.5 viewer (set to be the last viewer release of 2026, once it surfaces).
At the time of the meeting, the game_control code still had to be merged into the 26.5 branch.
It has been suggested that the mouse cursor is hidden and hovertips are disabled when flycam is being used with a controller, and this is on Leviathan’s list of work to be done. He is also considering a sub-tab for future game_control options / toggles.
This led to another discussion on what game_control does (in short: allow game controller to be used with Second Life, including for moving vehicles, the avatar and camera and other typical game controller capabilities, etc.; however this does not support more advanced options such as virtual keyboards + provide some LSL support).
Harold Linden (Lua) continues to work on backwards compatibility with script serialisation which will hopefully be the end of any “breaking rolls” when deploying future Lua updates.
The engineering team is still trying to get a selection of regions put together specifically for region crossing testing.
When sorted, this will likely be available through a Snack RC channel, (that is, a mini-channel of regions intended for specific testing).
This work has been delayed by the focus on the ObjectUpdate UDP messages issue on Nectarine.
Leviathan Linden further noted that Pepper Linden has a proposal for patching their region crossing work to avoid the worry of any performance exploit at the server for misbehaving clients, as noted (again) in the previous Leviathan Office hours summary, linked-to above.
This led to the inevitable discussion on region crossing improvements & their availability.
General Discussion
Please refer to the video for details on the following:
A general discussion on avatars being able to pick-up object / grab object in-world (a goal the long-suspended Puppetry Project had hoped to achieve). The ran through the middle third of the meeting.
I wandered lonely as a cloud That floats on high o’er vales and hills, When all at once I saw a crowd, A host, of golden daffodils;
Many of us will probably recognise these words as the opening lines of William Wordsworth’s Daffodils, written in 1804 and first published in 1807. Now the poem is brought to life by Second Life’s master of visual poetry, Sheldon Bergman (SheldonBR) within his SLEA2 installation Visual Poetry.
I’ve covered Sheldon’s work in these pages, both in its own right and via his collaboration with Angelika Corrall as artists at and curators of the former DaphneArts Gallery in Second Life. I’ve always found Sheldon’s work to be visually and aurally engaging, rich in context and narrative, and so was only to happy to pop along to Visual Poetry ahead of the installation’s soft opening and at his invitation.
Sheldon Bergman: Daffodils, September 2026, SLEA2
Wordsworth’s poem forms the focal point of Visual Poetry, presenting visitors with the opportunity to both partake of a walk similar in nature to that which inspired Wordsworth to pen his poem and at the same time become immersed in the poem imagery, aided by the selected music (played via local sounds rather than via the audio stream).
The poem, often referred to by its opening line, came about as a result a walk taken by Wordsworth and his sister, Dorothy, around Glencoyne Bay in England’s Lake District in April 1802. Whilst walking, they came across s field of daffodils dancing and waving in the breeze, easily rivalling the flick and flow of ripples and wave on the waters of the Bay; their yellow twinkling across the green of the shoreline offering a sight as beautiful and captivating as the stars in the night’s sky.
It was a sight which became so fixed in the poet’s imagination that it would continue to lift his mood and chase away what otherwise might have been afternoons or evening of dark reflection set in solitude; instead lifting his spirit and allowing his thoughts to dance once more with the daffodil’s sway and turn his solitude into thoughts of joy.
Sheldon Bergman: Daffodils, September 2026, SLEA2
All of this is presented through Sheldon’s gently immersive installation. Experience-driven, visitors should, on arriving, touch the sign on the Landing Point wall and follow the instructions as presented for viewer settings and also accepting the Experience. The latter will then trigger the addition of the installation HUD and teleport visitors to the installation proper.
The main installation forms a landscape intended to evoke the rolling beauty of Glencoyne Bay and its shoreline. Theo building occupy the shore – the near being a small stone cabin, and the more distant a country chapel. Arrival will trigger the installation’s introduction on the HUD, followed by the music playback
The entire setting perfectly matches the poem’s intent, offering a scene of natural beauty in which daffodils are scattered across the green, rolling landscape, bring the opening lines of the poem to life. More than just a part of the setting as it sits amidst the daffodils and with sheep grazing in their field on the hill, the chapel is a reflection of Wordsworth’s own religious outlook, which grew from a conventional Anglican outlook common to his times to a more personal, nature-centric faith. The environment settings, meanwhile offer a touch of the vacant or pensive mood Wordsworth notes recollections of the daffodils helps him to escape.
Sheldon Bergman: Daffodils, September 2026, SLEA2Where you go after hearing the poem matters not; this is very much an installation for wandering and quiet reflection and contemplation; for taking heart and joy in the beauty of nature as presented by the setting. The music selection is simply perfect, starting with Satie’s quite beautiful Gymnopédie No 1 (a personal favourite I enjoy playing myself), then continuing with Chopin and Mozart before finishing with Beethoven’s Für Elise (another personal favourite I enjoy playing).
It would be nice if the music continued or at least looped through the selected tracks rather than the single play-through, and for the setting to perhaps offer one or two places to sit outside and allow the mind to flutter and dance in the breeze or enjoy the jocund company of a companion. But even without these, Daffodils is an engaging installation, fully reflective of Wordsworth’s poem and his Romanticism.
I don’t know if this will be the only poem presented within Visual Poetry or the start of a series. I would hope for the latter, as I’ve always thoroughly enjoyed Sheldon’s work – but I’m only too aware of the work involved in putting out an installation like this. In the meantime, Daffodils will have a soft opening at 14:00 SLT, Tuesday, September 29, 2026.
Logos representative only and should not be seen as an endorsement / preference / recommendation
Updates from the week through to Sunday, September 20, 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 26.3 – 26.3.0.31203661088, August 10, promoted August 17 – quality of life improvements; performance improvements; bug fixes – No Change.
Second Life Lua Editor RC / Beta viewer with Linux support 26.4.0.35914774337, September 24 – NEW.
Lua scripting support (on regions with Lua scripting enabled).
Improved communication between the Viewer and the newly published Second Life VS Code extension.
Offers an experimental Linux viewer build.
Includes the latest WebRTC Voice and viewer-maintenance updates.
Second Life Chat Modernization viewer 26.3.0.35248298254, September 22 – NEW.
Recent conversations follow you seamlessly: a direct message you receive on SL Mobile can also be available when you return to desktop, and vice versa; Recent direct message history will be available on logging-in; existing desktop chat logs are preserved – previously saved local history isn’t being replaced or removed; conversation history feels continuous: on desktop, your existing local history and newer message history are brought together into a single conversation.
