Logos representative only and should not be seen as an endorsement / preference / recommendation
Updates from the week through to Sunday, August 9, 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 – 26.2.0.25386466510, May 19 -“flat” UI and font updates.
Release Candidate 26.3.0.30006559438, July 27 – quality of life improvements; performance improvements; bug fixes.
Kio Zen Garden, August 2026 – click any image for full size
Kio Zen Garden occupies roughly a quarter of a Full private region boosted by the Land Capacity bonus from LL. The work of Truebow Magic, it is a remarkable garden-temple-venue setting melding ancient Japanese architectural styling and modern aesthetics into a genuinely unique location.
This is a place very much a place of two halves: the ground-level areas, and the upper gardens. The latter sit on massive slabs of rock just above the former, extending out across the parcel from the cliffs which curtain off Kio Zen Garden from the rest of the region on two sides, supported by huge columns of rock like giant table legs.
Kio Zen Garden, August 2026
This is a design approach which can often come across as unnatural, giving rise as it does to large cavern-like spaces which are simply too regular to have any sense of having been naturally formed. However, that’s not the case here; such is Truebow’s design – including her choice of rock materials – that it is possible to travel through the entire setting without being aware of any sense of artificiality in its design.
Before going any further, I will note that Kio Zen uses a dedicated Shared Environment, and this really should be used when visiting, as it really brings out the depth of care which has been taken to blend materials, colour and form into the design. Given the nature of the region as a whole, I’d also suggest that a high draw distance is not required (particularly given Kio Zen is nicely screened from the rest of the region), nor is the use of shadows particularly required in order to see the setting at its best.
Kio Zen Garden, August 2026
The upper level, reached via two sets of wooden stairs, is split into three distinct areas. The largest of thee is a broad, flat Zen garden focused around a shallow body of water and given a sense of peace by a mix of surrounding high rocky cliffs, wooden curtain walls and the strategic use of bamboo.
Paths circle the outer reaches of this garden, with stone walkways providing the means to cross the central body of water, connecting several areas in which visitors might sit and pass the time. Wind chimes hang from frames and a mix of pagoda and paper lanterns illuminate paths and dapple the waters with light.
Kio Zen Garden, August 2026
The second elevated area is reached via a wooden walkway stretching across the northern side of the parcel close to the high cliff wall. Here the Zen garden theme continues, although the focus is very much on the temple occupying this space.
Crossing the walkway from garden to temple does reveal part of the lower elements of the setting and might give a hint of the unnaturalness of the base elements of both garden and temple if one is given to seeking them out – but the reality is, such is the work Truebow has put it blending rock with treetops, gardens (upper and lower), waterfalls and wooden walkways, everything does flow together naturally.
Kio Zen Garden, August 2026
The lower garden space between these two raised platforms forms one of four areas occupying the ground level of the parcel, with the focus within them being a mix of social spaces and the celebration of music. It is also where, for me, the magic of the setting is revealed.
These four areas can be broadly split into the aforementioned garden space, running north from the beach Landing Point, the Landing Point itself (where a teleport board might also be found), a second open garden space with the third upper section of the setting occupying its south-west corner, and a quite magnificent series of venue spaces and walks underneath and extended to either side of the rock table supporting the Zen garden.
Kio Zen Garden, August 2026
It is here that the sense of ancient-meets-modern permeates Kio Zen to great effect. Whilst home to spaces intended for music events, the structures under the rock are built in the shinden-zukuri style from Japanese classical history. This design emphasised open-sided geometric spaces linked by similarly open-sided walkways, the use of natural materials such a cedar wood for roof tiles rather than ceramics, and a minimalist approach to furnishings.
All of this is very much in evidence through these main structures, the high, sloping ceiling of which do much to hide the overhead rock (also helped by the clever use of large drapes over the overwise open-to-the sky roof ribs in places which both give the impression of being inside a building whilst further disguising the flat rock face above).
Kio Zen Garden, August 2026
Painted cloth and wooden side panels are also used, working with waterfalls and well-placed trees and plants to prevent the rock walls and columns from heavily intruding into the spaces and gardens spaced around the main sturctures.
Open to the sea at one end, and with side paths and walks stepping own off of the wooden halls and rooms, this area is genuinely stunning in its blending of styles, forms, architecture, nature, lighting, water and ancient and modern – but I’ll leave you to find “secret” lounge space tucked away within it!
Kio Zen Garden, August 2026The remaining lower garden space can be reached directly from the Landing Point. It offers an outdoor event area in the form of a cannabis garden (whether grown for recreational use or in reflection of the plant’s use in fibre production and Shinto rituals, I’ll leave you to decide!) and a further cavern topped by a garden space.
The cavern forms a further music space and hangout complete with outdoor deck seating at one end, just beyond a small jazz lounge which appears to be awaiting the arrival of the musicians. Above this, the flat garden space is crowned by an eye-catching ring of arched bridges spanning the tall columns of rock supporting the roof of the hangout. These are open to circumnavigation as well as connecting this corner of the setting with the paths leading to the Zen garden.
Kio Zen Garden, August 2026
There is much more that might be said about Kio Zen Garden, but the truth is it should be seen for itself. Every aspect of its design has been carefully considered, and it comes together as a physical work of art.
As the August 12, 2026 partial eclipse might be seen from the coast of Cornwall in the UK.
August 12, 2026 will see a total solar eclipse sweep across the Atlantic Ocean, the path of totality – in which the disk of the Moon completely covers that of the Sun as seen from Earth – extending down from the Arctic Ocean, across eastern Greenland and western Iceland before traversing the Atlantic to pass over northern Spain, the Balearics and parts of the Mediterranean before coming to an end as the Sun and Moon seem to part company once more.
The path of totality is not wide – just 393 kilometres across; but you don’t have to be completely within it in order to witness the eclipse. Countries to both the east and west will be witness to a partial eclipse, with much of western Europe – Scandinavia, the British Isles, France, the low countries, Germany and Italy in particular – will be treated to an evening partial eclipse to varying degrees, complete with a darkening of the skies as the disk of the Moon obscures a fair portion of the Sun, as if taking a bite out of it. For those in Europe who – weather permitting – would like to witness the event, here’s a quick outline of when and where to look and what to expect:
Start of eclipse time:
British Isles: 17:10 to 17:16 UTC (18:10-18:16 BST); maximum period of eclipse: 18:05-18:15 UTC (19:05-19:15 BST) – times varying according to latitude.
Europe: one hour later for either (UTC or daylight / summer time).
Direction of eclipse: west / north-west (depending on latitude).
Duration of maximum partial eclipse and percentage of Sun covered: 2-2.5 minutes, between 75% and 95% of the Sun’s disk covered.
Best coastal locations for observation: western coastal areas with uninterrupted sea views (e.g. west coasts of Ireland, Northern Ireland and Prembrokshire, together with the Scilly Isles and north coasts of Cornwall and Devon for the British Isles).
Best inland locations: elevated areas to avoid horizon obstructions.
Locations subject to total eclipse in Europe: the Spanish mainland cities of Bilbao, Santander, Valladolid, Burgos, Zaragoza and Valencia and their immediate surroundings, plus Palma, Mallorca.
If you do decide to watch the eclipse it is essential you follow safety guidelines, including:
Projecting the image of a eclipse using a telescope. Credit: Sky & Telescope
NEVER look directly at the Sun with the naked eye OR when wearing sunglasses. The latter will not provide the levels of protection required, and looking at the Sun in either of these ways can result in serious eye damage.
If you plan to use solar eclipse glasses, make sure they are certified to ISO 12312-2. Also, if they are the kind with cardboard frames be sure to HOLD them in place; lightweight solar glasses can easily be dislodged by a breeze or by being bumped, potentially resulting in eye damage.
NEVER, EVER look at the Sun via a telescope or with binoculars without using a fully certified Sun filter system designed specifically for your equipment. If you do not have either, then use projection – position the telescope / binoculars so that the image of the Sun is being cast on a suitable flat surface (such a smooth pavement or piece of cardboard – be careful over over-heating the latter!) and observing the eclipse by watching the image, not by looking through the lens – see the image to the right as a guide.
NEVER look directly at the Sun with the naked eye or when using sunglasses, and certainly not via binoculars or a telescope or camera viewfinder / screen. ALWAYS use properly-certified solar glasses and solar filters suitable for the equipment you are using. Image credit: Getty library stock
Given European weather can be a pain at times (let’s face it, we may be in a heatwave, but that doesn’t stop Mother Nature from being awkward on the day and cluttering the sky with clouds!), and given the limited opportunities for really good viewing, the best way to witness the eclipse could be on-line. NASA live, for example will be showing the entire eclipse. and in mentioning NASA I should note that those in Eastern Canada and the United States will also be able to see a partial eclipse, but the coverage of the Sun by the Moon will be much less than will be seen from Europe.
A number of space-related and astronomy sites will also be either livestreaming or blogging the event with photographic updates, so Google is your friend for finding these.
nor is that all; August 12 marks what eclipse hunters are calling a “golden age” of total solar eclipses visible from more accessible locations around the world over the next decade. Some of these will be:
August 2, 2027: Spain, Gibraltar, Morocco, Algeria, Tunisia, Libya, Egypt, Sudan, Saudi Arabia, Yemen, Somalia, British Indian Ocean Territory.
June 22, 2028: Christmas Island, Cocos Islands, Australia, New Zealand.
November 25, 2030: Namibia, Botswana, South Africa, Lesotho and Australia.
March 20, 2034: Benin, Nigeria, Cameroon, Chad, Sudan, Egypt, Saudi Arabia, Kuwait, Iran, Afghanistan, Pakistan, India and China.
September 2, 2035: China, North Korea, Japan.
For the poor old British Isles, the next total eclipse to be directly visible across the countries will occur on September 23 – 2090!
Humans to Mars: The Risks of Deadly Dust
At some point in the (hopefully not-too-distant) future, humans will set foot on Mars. However for any nation or group of nations attempting this goal there are a number of challenges to be addressed, particularly in the areas of human psychology and welfare. One of those most frequently mentioned is that of radiation, both solar and galactic; however, whilst a major factor in planning for any human missions to Mars, the focus on radiation does tend to overshadow another equally hazardous issue: Martian dust.
Like the Moon, Mars is an extremely dusty environment. During Apollo, lunar dust caused numerous issues, from spacesuit erosion and compromising suit seals and joints, through getting into electrical and air circulation systems and causing overheating issues to most particularly getting into eyes, sinuses and ears to cause irritation, and into pulmonary systems where it could cause respiratory issues if not treated. Fortunately, the Apollo missions weren’t of a length where the health implications reached a point of any serious debilitation. On Mars, humans will face similar challenges, but to a much greater degree, both because of the nature of the dust and because of the duration of any mission.
Gene Cernan, the commander of the Apollo 17 lunar mission, photographed by crewmate Harrison Schmitt aboard the lunar module Challenger following their first surface EVA, December 11, 1972. Note the dust accumulation on his space suit. Credit: NASA / Schmitt.
While Martian dust – sometimes call “fines” on account of its extremely tiny nature and shape – carries similar and harmful silicates to those contained within lunar dust, it also carries perchlorates and metals like chromium, beryllium, arsenic, and cadmium, all of which are extremely toxic to humans and living cells. Given the duration of a typical humans-to-Mars mission (36-40 months), a crew continuously exposed to dust inhalation without proper precautions being taken, face potentially very serious health risks.
The concern is that future crews will be living and working in a closed habitat, repeatedly going outside, bringing dust back in on suits and equipment, in a low-humidity environment. That’s a condition in which small particles are more prone to becoming airborne and potentially inhaled, with crew members being exposed to fine respirable particles over many days, leading to a real possibility of developing cardiovascular and pulmonary illnesses – even cancers – within the lifespan of a mission.
– Shaunna Morrison, Associate Professor, Earth and Planetary Sciences, Rutgers University
Some of this can potentially countered through technology options such as the use of suitports and the use of high-filtration HVAC systems incorporating advanced and magnetic filters (Mars dust having high concentrations of metals, as noted). However, the Martian Dust Limiting Working Group – a cross-disciplinary group of scientists, doctors and engineers looking at the issue of Martian dust exposure – conclude that a lot of the risk mitigation is going to be via continuous regime of medication from daily intakes of vitamins through to things like iodine doses and supplements, together with the use of cough medicines and bronchodilators to manage inevitable periods of short-term inhalation.
One of the major takeaways from the Mars Dust Working Group is that Martian dust is a real crew-health and engineering issue, but it is also a tractable one if it is treated as a design requirement from the beginning. The best strategy is prevention first. Keep as much dust as possible outside the habitat, remove it quickly when it gets in, monitor airborne particles, and incorporate medical countermeasures into daily routine so crews are not purely relying on them as purely as a possibly limited after-exposure treatment.
– Shaunna Morrison
Layers of dust accumulated on the deck of the Mars 2020 rover Perseverance after 5 years of operations on Mars, July 2026.
This, coupled with the need for daily routines of exercise and training – particularly during the transit periods to / from Mars – is why those embarking on the initial missions to Mars and engaged in establishing a possible permanent human presence there will need to be highly trained and highly disciplined. They will be facing a range of potential health hazards and and psychological challenges which make the idea that anyone other than those who have undergone a broad range of physical and mental training and have the capacity to face the ardours of a 36-40 period of continuous living within a deadly environment can participate in such an undertaking a complete fiction.
Updates
Blue Origin Reveal NG-4 Explosion Cause
On May 28, 2026 during a pre-flight engine test while on the launch pad, the New Glenn rocket that was set to undertake the vehicle’s fourth flight exploded, destroying itself and the entire launch pad, and causing significant damage to the supporting infrastructure.
The moment of total destruction: the complete New Glenn rocket “stack” is destroyed on May 28, 2026 as 1,200 tonnes of propellants in the first stage tanks explode, sending a mushroom fire cloud into the sky over the Florida Space Coast. Via: AP News
Since that time, Blue Origin has been working to recover and rebuild the New Glenn launch facility at Cape Canaveral Space Force Station (CCSFS), and also carry out an investigation into what caused the explosion, said to have been in the one kiloton TNT range.
with regards to the latter, on Wednesday August 5, 2026, Blue Origin CEO Dave Limp reported via social media that the cause of the explosion has now been identified and is being addressed:
The anomaly originated at the main oxygen valve on one of the BE-4 engines, which was later confirmed by hardware recovery and inspections. Extensive component-level and engine hotfire tests have been conducted to understand the failure mode better and inform mitigations.
– David Limp, Blue Origin CEO
Work at Launch Complex 36, Cape Canaveral Space Force Station, Florida, destroyed in the NG-4 explosion, is proceeding apace. The current focus is on carefully dismantling the lightning conductor tower (centre), so that its damaged lower extremes can be replaced / repaired, prior to the tower being being rebuilt a a vehicle launch tower for future New Glenn 7×2 and 9×4 launches. Credit: Blue Origin
As a result of these tests and the forensic examination of vehicle wreckage, Blue Origin has made a series of modifications to the valve in question which will be incorporated in the production of future BE-4 motors and can be installed into the existing engines awaiting flight / reflight opportunities. This does not mean the FAA Mishap investigation into the explosion has been closed – additional fault tree analysis is continuing to determine if other factors may have been in play. However, Limp indicates that this is most like the key cause of the vehicle loss; as such, it would seem likely that the investigation will be formally closed in the next few months.
In the meantime, work on getting the launch facilities at CCSFS are now well in-hand, and Blue Origin remains of the opinion that the facilities and New Glenn could be ready to resume operations by the end of 2026.
Voyager 2: Instrument Shutdown Reprieve
Diagram of the Voyager spacecraft. Credit: NASA
It’s incredible to think that NASA’s twin Voyager spacecraft will, in a year’s time, mark the 50th anniversary of their respective launches (September and August 1977). The two craft are now so far from Earth (and travelling in interstellar space beyond the boundary of the solar system) it takes over a day for signals sent to or from them to be received.
Sadly, both vehicles are also dying – at least in terms of their available electrical power – as the reserves of plutonium within their radioisotope thermoelectric generators (RTGs) reach a point where the heat created through its nuclear decay becomes increasingly less able to generate the electricity required to power each vehicle’s science and other systems. As a result, NASA has been slowly turning off various instruments on each vehicle in the hopes of eking out power to keep the most useful (in interstellar space terms) functioning. In April 2026, for example, the Low-energy Charged Particles (LECP) experiment on Voyager 1 was shut down, leaving that craft with just 2 of its original 10 science systems functioning.
It had been expected that a similar move would have to be made with Voyager 2 in the second half 2026, to also leave it with only two functioning science instruments. However, in their latest piece of deep space engineering wizardry worthy of Montgomery Scott of the USS Enterprise, NASA engineers have worked out a means to re-route power through some of the spacecraft’s non-science systems at much lower levels than had previously been required, thus allowing power to be maintain to all three of the surviving science instruments.
Referred to by the mission’s engineering team as the “Big Bang” power change because of the risk it could figuratively blow up in their faces, this re-routing means that Voyager 2 now has enough electrical power capacity to run all three of its remaining instruments for up to a year before thought will have to again be given to shutting one down.
Voyager 2 is now being monitored to ensure there are no unwanted side-effects resulting from the change. Providing none are found, it is likely a similar operation will be performed across the 25.5 billion kilometres separating Earth from Voyager 1 so that it might continue to have sufficient electrical power to run its two surviving instruments for longer than had been anticipated.
Maven Art Collective is a new arts community in Second Life open to all those who produce and present art via the platform Life, be they in-world photographer-artists, physical world artists using Second life as a medium to reach a broader audience and / or 3D artists working in prims or mesh.
Founded by Amari Maven of Maven’s rentals, working with artist Janus Fall (the collective’s Art Director), the collective is based in one quarter of Maven Isle. Focused on a large main events and exhibition hall, together with a garden space for 3D art, the Maven Art Quarter also provides individual boutique gallery spaces free of charge for artists wishing to display and sell their art.
Maven Art Collective, August 2026
However, there is one small catch (so to speak): Maven Art Collective is about involvement, not just providing space. Those joining will be asked to actively engage with the Collective by participating in group events, mounting their own (or joint) exhibitions and helping promote the Collective and art in Second Life as a whole. Which, in return for a free gallery space is a very fair exchange.
If you are interested in joining the Collective, please contact Janus Fall or Amari Maven in-world.
Inaugural Exhibition
Maven Art Collective, August 2026 – inaugural exhibition
Friday, August 7, 2026 saw the opening of the Collective’s inaugural exhibition within the main gallery space, featuring current Collective members Anja (Neobookie); Sisi Biedermann; Zia Branner; Cass (cassandra Ushimawa); Alexandra Costanza; Duraya; Hadiya Draper; Eta (etamae); Sharon Emerald (3d Dismantled); Janus Fall; Leica Frame (LeicaFrame); Kayly Iali ; JakeloveAdeer; Life Suki and WVP (Traci Ultsch). Together, the artists offer a rich blending of art and expression to present an excellent and engaging exhibition.
As well as exhibitions like this, the main gallery and spaces within the Collective’s Art Quarter will be used to promote art in Second Life through special events, showcases and celebrations across the artistic medium.
Maven Art Collective, August 2026 – inaugural exhibition
Again, if you are an artist interested in becoming an active member of the Maven Art Collective, do be sure to contact Janus or Amari in-world.
If you appreciate artistic expression in Second Life, do be sure to pop along to the gallery for this first exhibition – and, if you are so minded, don’t forget to subscribe to the Collective’s in-world Group to keep abreast of news and updates!
Japanese Garden at Hope Island – click any image for full size
Located in the sky over Project Hope Island is the simply named Japanese Garden, the work of the wonderfully named Sharpy Fhang. It’s a place perfectly described by its name, sitting as it does cupped within the palm of surrounding hills above which a morning Sun is casting its rays to create an aurora-like treetop haze before falling across a Zen garden winding between the trees and through torii gates.
Walk and explore the Japanese Garden at Project Hope. Come and explore, sit and reflect, visit the music garden, or just enjoy the sounds of the waterfalls and feel the serenity at this inspirational garden of peace and happiness.
– Japanese Garden at Project Hope Destination Guide description
Japanese Garden at Hope Island, August 2026
This is a place of sublime peace and beauty, where the sound of water bubbling along little brooks and streams harmonises with the call of birdsong whilst lanterns and lamps illuminate the many paths, silent guides for visitors ready to explore the garden and all it has tucked within it.
These paths are all unhurried in the directions they take or in the time they takes to reach anywhere in particular; there is no reason to hurry; places to sit are plentiful, pools of gravel set aside of gentle dancing contrast with the large central body of water spanned by a large bridge alongside of with lanterns gently float. The land climbs gently as it moves further away from the Landing Point, flattened stone steps placed in little groups as if easing the ascent further.
Japanese Garden at Hope Island, August 2026
Fed by streams the bubble down to it through narrow channels, sometimes ducking under rocks before reappearing the central large pond reflects natural and artificial light in gentle ripples, koi carp swimming just under the its surface. The paths loop gently around it, whilst red crowned crane wads its shallows, content to share the water with the fish below rather than trying to make a meal of them.
A small hot spring borders the pond for those who feel the need to soothe tired muscles, whilst at its upper end where water from one of the garden’s streams enters it, a further sign of harmony can be found as cats and songbirds share a little plank bridge, content to sit and sleep together as the water trips over stones and rocks below them.
Japanese Garden at Hope Island, August 2026
Whichever branch of the paths visitors take from the Landing Point, they all eventually meet with one another, allowing the waters of the garden to be circumnavigated and the gentle climb up to the northern end of the gardens to be completed.
Take the path offered by the red bridge and it will pass by way of a pagoda-like bell tower and a gated entrance and a cobblestone path reaching out to a bench overlooked by a tall waterfall. Skirt the edge of the pond in the other, and you might find yourself passing little shelters, shrines and a place to enjoy steaming delicacies (just don’t disturb the cats!).
Japanese Garden at Hope Island, August 2026
The most northern end of the garden is the preserve of a large single-floored house. Open to the public, it features two large wings of two rooms apiece, a linking hallway passing over waters flowing out from the falls just behind the house.
It is here that the music retreat in the Garden’s description can be found, complete with a koto for those who wish to play it. For those who might find the hot springs a little too much like broiling themselves, there is a large cold water pool sitting between the house and the cobbled path out to the waterfall overlook.
Japanese Garden at Hope Island, August 2026
There is one little quirk within the setting which may not be immediately obvious. It sits overhead as if watching over the gardens and appears accessible to anyone visiting, although I didn’t spot any obvious means of getting up to it other than a sit TP. It’s a quirky little addition to the garden below, yet somehow it still “fits”.
With plenty of opportunities for wandering or spending time in solo contemplation or with a friend, Japanese Garden at Project Hope is a peaceful and engaging setting – an ideal spot for recharging one’s batteries.
The Open Source User Group (OSUG) meeting is an 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.
26.3 is to see a further RC / beta update prior to getting promoted. There has been an increase in log-out failures with the current RC, so LL is working on fixing that.
Viewer 26.4 is now confirmed as being the Lua editor viewer (with Linux support), and a further update to that viewer (currently alpha / project status) should be forthcoming in the next week or so.
Discussions are still continuing on where to place the viewer-side code for game_control. Per my SUG meeting summary notes, this in part rests on his API work semantic to help with naming controls, etc.
Geenz has resumed work on the Graphics Care package (GCP) viewer.
Other Items
Transparent Media on a Prim (MOAP) – the ability to have parts of a MoaP surface be transparent rather than the whole thing – appears to be moving forward as well. As a general heads up on this, Geenz noted it might bring a few security minded modifications along with it, but no details on this at present.
Roxie Linden noted that LL is still actively looking into transcription functionality, and the hope is to evaluate more technologies to make sure a good option for SL is identified.
Also being evaluated is transcription accuracy, to allow a fast follow-on for functional translation. Roxie reaffirmed that transcription / translation are being looked at is internal services, rather than utilising any 3rd party solutions, so as to maintain privacy.
However, Jerome noted that whether an internal service is created or there is a move to use an external service could come down to issues such as cost, maintenance, etc., – however, privacy will remain a priority either way.
A suggestion was put forward for a “decode once, use many” approach to the texture cache (e.g. decode the textures from the asset CDN once, then store them as something like KTX, which can be streamed directly into the GPU).
Brad Linden noted this is actually done for SL Mobile, and that it would be good to standardise on an approach across both Mobile and all viewers.
Geenz noted that whilst this would be good, it could be impactful on client performance, noting:
It’s definitely an interesting direction, and one I don’t think would be bad – but I think the bigger question is gonna be how do we do this without decimating every single texture that has text on it?
As a part of the above discussion, Geenz noted that moving away from OpenJPG as the graphics API will likely that the initial direction will be Vulkan and Metal (Mac) to start, with the potential for DirectX 12 to be added-in as well (although if LL stick to using slang-rhi, DX12 should be supported anyway).
A caveat here was that if LL doesn’t have to directly support hardware outside of what Metal and Vulkan will run on, then they’ll constrain the work to just what is needed.
Geenz also hinted that things might be changing more broadly with the graphics pipeline, suggesting that in the future, deferred rendering may not by a part of it – and people should think more in terms of forward+ or clustered. Again, this is not to say this direction will be taken; the comments were more things Geenz is mulling, as was the case with musings on the potential for froxels potentially being something worth looking into.
The last part of the meeting was more specific to viewer pull requests (PRs), and bug reports, including: