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.
26.2.0 is now release, per the above. The code has also been merged into all viewers currently in development (such as the Lua Editor) with the exception of the Graphics Care Package (GCP) viewer.
Viewer 26.3.0 is the performance improvements viewer, intended to be the next release viewer and which is currently awaiting being issued as an alpha or RC viewer. This viewer:
Includes async inventory loading, which should further help with loading very large inventories; together with new texture streaming updates which should help those on SL minimum specification computers with constrained VRAM.
Is viewer is reported as providing good performance across a range of systems and scenarios.
As a part of the texture streaming updates mentioned above:
The viewer will not have: “a proper” texture quality setting (Low to Ultra) or the current LOD resolution drop-down.
The viewer will have a new texture resolution drop-down, which is more aggressive on its Low setting to optimise the use of VRAM on low-specification client systems; a Medium setting also doing more lower-resolution loading for textures at a distance from the camera (but high resolutions for those close-up); a High setting with resolutions slightly below their current levels; and an “Ultra” option that pretty much matches the current setting.
The viewer will also have a new (around 5 metre) “camera bubble” that follows the camera round and tries to load high resolution textures as best the client computer can manage
Lua Editor viewer:
There are “a lot of asterisks around” this viewer, both in terms of client-side work and server-side work.
This viewer may end up with numerous flags within it which can be toggled on / off depending on the status of server-side Lua support.
The availability of an official Linux remains tied to this viewer.
The Graphics Care Package Viewer (GCP) is effectively “on hold” as work continues on other viewers. However, when it does surface, it will likely include (but not necessarily be limited to) the following:
EEP post-processing settings, easing the work of setting-up EEP environments.
PBR specular support.
Updated and more performant Screen Space Reflections (SSR), including the ability to adjust SSR rendering to better suit the capabilities of the client computer (e.g. cranked right up on a very capable modern computer & GPU, or dialled down so it doesn’t choke older hardware).
General Discussions
It was asked if PBR (glTF) lighting is coming soon. Geenz noted that this requires server-side work, notably around the messaging service between the simulator and the viewer. Such work would need to be implemented before LL can fully commit to having largely glTF-compliant lighting. So, not in the immediate future.
A question was asked about artefacts occurring in varying levels when a gradient (slope) is applied in the construction of metallic materials, and whether anything was being done to correct this.
The question was related to gradients in normal maps, but was not total clear (i.e. was the gradient part of the normal map, or something added latter?). As such a canny report was requested on it.
There is a known issue with gradients on the diffuse map, and this is being addressed with the GCP viewer.
A request was made for PBR emissive map textures to load as the colour #000000 (up the receipt of the first discard level), as the current value – colour #808080 -, which causes objects that use emissive to glow while they load – see this issue / Github).
Geenz Linden noted this could be so modified, but it would then cut across some of the texture loading work that has been going into the upcoming performance improvements viewer (26.3)
As such any change is unlikely to be implemented as a part of that viewer.
With the BonnieBots data collection system now banned from SL, a request was made for clarity on what is / is not permissible in gathering data from the grid, as there are a number of valid projects that require the use of specific data gathered from the grid via bots (e.g. in obtaining terrain heightmap data for use in producing 3D terrain maps). Geenz indicated:
He would try to get some clarity on this from senior management.
That including things like heightmap data into the map system is something the Lab is looking at, so as to make requesting this kind of data easier for those using it.
That additionally, LL is considering the use of things like object imposters and mesh proxies where applicable – but there is nothing solid to report on any of this at the moment.
It was asked if there are any further updates being planned for the avatar skeleton / avatar bones / blend shapes. Short answer: no; any work on the avatar / avatar skeleton would need to be relatively in-depth due to the risks of content breakage, etc., and so is something LL do not want to take on at present.
A question was asked about LL’s strategy for on-boarding and retaining new users. As previously noted in these summaries (and others), LL is not pursuing any single goal for this; there are several inter-related strategies (such as the one-click install on the viewer – making it easier to obtain; & the upcoming graphics improvements – which should make running SL a smoother, more predictable experience).
The subject of VR support was raised. The feedback from Geenz was that VR poses significant issues for SL, particularly in the area of being compelling enough to people already using VR headsets. For example:
Implementing a means by which people can simply put on a VR headset and look around SL or even move around with their avatar is not technically that complex. However, neither of these approaches would necessarily be compelling to people coming into SL who are familiar with using VR on other platforms.
By contrast, making SL interactive in a manner that is compelling to existing users of VR – e.g. being able to engage with, move, etc., in-world objects through hand arm / body movements and to have things like full facial tracking and representation and having all of that packaged and streamed to everyone else in a region – is a considerably more complex task, potentially touching on multiple areas of the platform. As such it is not actually something LL is directly focused on.
The above led to a broader discussion at the end of the meeting on the Lab’s discontinued Puppetry project, its application in a possible VR project, together with alternate approaches, matters of IK, etc., all of which came down (again) to the view that providing a “good” and scalable VR solution in SL requires working on multiple moving parts / would have lengthy lead-times, and so is not something LL wishes to commit to in the near-term .
It’s been a while since I’ve had the pleasure of visiting an exhibition of art by Thus Yootz; and to be honest with things being what they have been of late, I likely came perilously close to missing this one, considering it originally opened some two months ago at the Kondor Arts Centre, curated and operated by Hermes Kondor!
Hauling from Greece, Thus studied for a BA and MA in art over 5 years at the Athens School of Fine Arts, studying under masters such as Christakis Tassos, and has enjoyed success down the years exhibiting her art in the physical world. In joining Second Life, Thus has – like many of us – tried her hands at numerous activities: region designer, content creator, photographer, wedding planner and artist, demonstrating her love of expression and creativity.
Kondor Art Centre, May 2026 – Thus Yootz
As one might expect given her qualifications and creativity, Thus’ art is richly diverse in its influences and presentation, something which guarantees those visiting her exhibitions will be well rewarded for doing so. With this exhibition – which so far as I could tell is untitled – this diversity of influence and style is much in evidence.
Spread across the lobby entrance and main floor of the gallery hall, the exhibition presents 16 large format pieces, the majority of which lean towards abstract, where colour and geometry rule more than form and reality. Even in images that carry recognisable elements – a boat, trees, buildings, and so on – there is something otherworldly in how they are presented; as if we are being lifted to a higher plane of existence / awareness in which the familiar is made new.
Kondor Art Centre, May 2026 – Thus Yootz
Some of the pieces carry an interesting oriental lean, giving them an interesting cultural mix as they bring together hints of classical oriental life – lanterns, older buildings, painted calligraphy – but seen through a modernistic lens suggestive of computer lines, neon, and digital extraction. In doing so, they become a perfect representation of how one might imagine far eastern countries embrace both the modern and their long histories.
Thus, all of these pieces are dynamic, both it terms of their form and presentation and in what they say to us, from eliciting admiration for their sheer artistry and emotional content (Fury, Lavender Meadows and Japanese Red) through aforementioned cultural blending (perhaps most noticeably – but not limited to – Walking Down that Musical Road, Her World and Neon Melody), to even whispered commentary of the depth and beauty of nature (Explosive Flowers as it illustrates the intense beauty and colour of nature here on Earth in a manner that could be said to reflect the beauty of the cosmos around as seen via gas clouds and nebulae).
Kondor Art Centre, May 2026 – Thus Yootz
In all, another stunning selection of art – but do be sure to hop over to see it sooner rather than later. And my apologies to Thus for my tardiness in doing so myself!
The Third Place, May 2026 – click any image for full size
I was somewhat intrigued by the Destination Guide entry for The Third Place; where many public places in Second Life tend to change seasonally or perhaps monthly (if they do opt to change), The Third Place offers something a little more frequent:
The Third Place is a vibrant region where you should wander around, take photos, explore virtual art, and chat. Every week, its works change, are refined, or disappear. Don’t miss out! It’s perfect for couples and artists. Come enjoy the beaches, caves, hidden treasures, and sunrises.
– The Third Place Destination Guide entry
The Third Place, May 2026
Weekly changes, even in term of any art elements within a region, is something that sounds interesting and curious – so off I hopped to have a look.
Obviously, a place that does undergo such frequent updates is perhaps a little hard to write about – what I see today, someone coming across this article in a couple of weeks time might find entirely absent from the setting. As such, I’ll endeavour to keep my observations more general.
The Third Place, May 2026
A Homestead region and the work of Kat (Kathylin Resident), The Third Place is a rugged island in which visitors are free to wander overground and underground, encountering art vignettes along the way, together with plenty of opportunities for photography.
At the time of my visit, the Landing Point was located in the north-eastern lowlands of the region, on the edge of a wetland inlet itself abutting the off-region waters surrounding. The first of these art elements lay on the shoreline of these wetlands, whilst the main path rising from this to move inland. Passing through woodlands, it turns again to follow the coastline partly around the island and past some of the art installations awaiting discovery.
The Third Place, May 2026
The art installations themselves are spaced around the region, allowing each to stand independently one from the next. They come in different sizes, some large, others individual pieces. Some of these – again at least during the time of my visit – are located close to large empty frames which allow unique opportunities to photograph the art pieces themselves.
As well as the art, The Third Place offers places to sit and pass the time. Scattered across the island like the art, these help encourage visitors to wander and explore. Such explorations can be carried out on foot, following the footpaths and trails winding over the landscape or via horseback (you can wear / rez your own), or – if it is still available and you locate it – you can use the bubble ride rezzer.
The Third Place, May 2026
Per my note earlier, the island includes paths which pass underground via a connected series of tunnels which are worth the time taken to find your way into them and then exploring them fully. Above these, up on the mountain peak and reached via its own switchback path, further art can be found, again with opportunities for photography.
Rezzing in the region is open to visitors, allowing props to be used when taking pictures – but do make sure you collect your things afterwards. Rich in detail without feeling or looking overcrowded, The Third Place makes for an engaging visit.
Logos representative only and should not be seen as an endorsement / preference / recommendation
Updates from the week through to Sunday, May 17th, 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 – One-Click Installer = 26.1.1.23806384790 – April 10 – No change.
Second Life Release Candidate (RC) viewer: Flat UI – 26.2.0.25386466510, May 14 -“flat” UI and font update – NEW.
Second Life Lua Editor Alpha viewer 6.1.0.23768336784, April 29 – No change.
Raglan Shire, Second Life’s Tiny community, is once again opening its doors to people from across the grid, as participating artists and visitors are invited to the Raglan Shire Artwalk 2025.
This year, the the event runs from Sunday, May 17th, through until Sunday, June 14th, 2025 inclusive. It offers an opportunity not just to appreciate a huge range of 2D art together with a selection of 3D pieces, but to also tour the Shire regions and enjoy the hospitality of the Raglan Shire community – one of the friendliest and fun-seeking groups in Second Life.
Raglan Shire Artwalk 2026
A non-juried exhibition, the Artwalk is open to any artist wishing to enter, and has minimal restrictions on the type of art displayed (one of the most important being all art is in keeping with the Shire’s maturity rating). All of this means that it offers one of the richest mixes of art displayed within a single location in Second Life, with 2D art displayed along the hedgerows of the Shire’s pathways and tree platforms overhead and 3D art among the community’s parks.
Over 100 artists are participating in 2026, many for the first time. As such, the depth and range of art on display is guaranteed to keep visitors exploring the paths and walks around and through the hedgerows – and if walking proves a little much, there are always the Shire’s tours to ease the load on the feet, together with the teleport boards to help move visitors swiftly around and through the different display areas. But that said, I do recommend exercising your pedal extremities and doing at least some of your exploration on foot – just keep in mind people do have their homes in the regions as well.
Raglan Shire Artwalk 2026
Given the number of artists involved, there isn’t a published list of participants, but anyone interested in the world of SL art is bound to recognise many of the names of the artists here. The Artwalk is also a marvellous way to see art from both our physical and digital worlds and for catching artists both familiar and new to your eye. Just don’t try to see it all at once; the Artwalk is open for a month, which gives plenty of time for browsing and appreciating the art without feeling overloaded.
SLurl Details
All of the Raglan Shire Artwalk regions are rated General.
A September 8th, 2025 Mastcam view looking out over the plains above Jezero Crater, captured by NASA’s Mars 2020 Perseverance rover. The mountains are some 84 kilometres from the rover, with “Lac de Charmes” in between. This a colour-corrected image, adjusted for Earth-level lighting. Credit: NASA-JPL / MSSS
NASA’s Perseverance rover celebrated its fifth anniversary on Mars earlier in 2026 as it continues to explore Jezero Crater and its surroundings. Most recently, the rover has been exploring the western rim of the crater and returning some stunning images. Meanwhile, images and data Europe’s Mars Express orbiter – now into its 23rd year studying Mars – has been used to create more high-resolution images and models of surface features on Mars.
Perseverance has been exploring an area NASA has dubbed “Lac des Charmes” (“Lake of Charms”) after a reservoir serving the Champagne and Burgundy regions of France. In the Martian case, the name has been applied to a paleolake, an ancient lake which no longer exists as such – no water, etc., – but which is still identifiable as a former body of water and which lies on the plains beyond the rim of Jezero Crater.
It’s an especially interesting place to study for several reasons, such as it being home to some of the most ancient rock formations the rover is liable to encounter, including megabreccia – fragments of rock blasted out of Isidis Planitia some 50 km from Jezero by one or more meteorite impacts around 3.9 billion years ago.
A view looking back over the “Arbot” area near “Lac de Charmes”, as captured in 46 images by the Mastcam on Perseverance on April 5th, 2026. The mosaic has been colour adjust for Earth levels of natural light. Credit: NASA-JPL / MSSS
One of the areas imaged by Perseverance showed an area of megabreccia dubbed “Arbot”, which became the subject of study by the rover from April 2026 onwards. The hope of this study is that it might offer some key questions about Mars: the composition of its interior, whether there was a magma ocean on Mars, and what the initial conditions on the planet might have been and whether they might have been conducive to giving life a kick-start.
The exploration of “Lac de Charmes” and “Arbot” brings the total distance driven by the rover to date to just over 42 kilometres. The “selfie” taken at “Arathusa” was also not just for prettiness sake: it allowed mission personnel to see the general condition of the rover, particularly its wheels, helping build confidence that Perseverance is more than capable of continuing its mission for a good time yet as it continues to explore the region above Jezero crater.
Perseverance took this “selfie” on March 11th, 2026, with its Mastcam turned to examine the “Arathusa” rock outcrop. The image is true colour and captured by the MAHLI imager on the rover’s robot arm (which is absent from the image to avoid blocking details, but its shadow can be seen on the ground. Credit: NASA-JPL / MSSS
As NASA was providing updates on Perseverance’s progress, the European Space Agency (ESA) was releasing images recently captured by the High Resolution Stereo Camera (HRSC) aboard the agency’s long-running Mars Express mission as it continues to study Mars.
The images issued by ESA focus on Shalbatana Vallis, a 1,300 kilometre long channel system within the Xanthe Terra region of Mars. It’s not the first time this particular area on Mars has been studied by Mars Express, but these images are among the clearest taken of the valley thus far.
An overhead view towards the northern end of Shalbatana Vallis (to the left) captured by ESA’s Mars Express orbiter. It shows how the valley is a mix of cloaking sand deposited over millions of years, and a still-exposed valley floor. a large channel near the Red Planet’s equator, as seen by the Mars Express orbiter. Credit: ESA / DLR
What makes Shalbatana Vallis of particular interest is the way it is believed to have been formed. On a world where even formations thought to have been formed as a result of liquid water are thought to have done so over hundreds of thousands (or millions) of years, Shalbatana Vallis is thought to have been created in a single, major event which came somewhat later in the planet’s history that its “wet” period.
The theory goes thus: some 3.5 billion years ago, when all liquid water on Mar had either evaporated or vanished underground (eventually becoming permafrost). There was a body of subsurface water under a part of Xanthe which was both heated and kept under pressure by geothermal heating. However, something happened in the region. Perhaps it was a massive Marsquake or perhaps the impact of another meteorite.
Whatever the cause, it resulted in the ground covering the trapped water collapsing it into chaotic terrain and setting the water free in a powerful, tidal wave-like surge. This surge rushed down the prevailing slope of the land towards Chryse Planitia (itself believed to have once been home to a massive body of liquid water), cutting into the soft surface rock to create a broad, deep gouge in its wake.
A stereo view created from the HRSC on Mars Express showing the chaotic floor of Shalbatana Vallis. Note the exposed depositions of dark volcanic dust against one wall of the valley. Credit: ESA / DLR
In the intervening 3.5 billion years since Shalbatana Vallis was carved, the lines of the valley have been softened by dust and sand deposits blown into it by successive Martians winds and seasonal dust storms. However, it has remained the subject of study by both ESA (via Mars Express) and NASA because of the evidence relating to its formation and what it might yet reveal about the ancient past of the planet, hence these images.
The existence of features like Shalbatana Vallis not only provide evidence that Mars was once capable of hosting liquid water on its surface, they also point to the fact that the planet’s history was a lot more varied and complex than simply being a case of formation, hot, wet, cool, dry, cold.
A video made up of images of the Xanthe region and Shalbatana Vallis captured by Mars Express and released in 2025
Psyche’s Mars Fly-by
Mars remains a focus for this article as it briefly had a visitor on Friday, May 15th, 2026, when NASA’s Psyche spacecraft passed around the planet.
Launched in 2023, the 2.6 tonne spacecraft, propelled by solar-powered Hall-effect thrusters, is en-route to study the asteroid 16 Psyche. This is an M-type asteroid roughly 220 kilometres across orbiting the Sun in the asteroid belt between Mars and Jupiter. It is the heaviest such asteroid such discovered – the “M” classification indicating it has a high metallic content. Astronomers believe it could actually be the exposed silicate-iron core of protoplanet, having has its crust and mantle rippled away very early in the history of the solar system and following a collision with another such body. As such, it is hoped that a study of 16 Psyche could reveal more about planetary formation within the solar system.
An artist’s impression of the 2.6 tonne Psyche spacecraft with its 24.7 metre span of solar arrays used to provide electrical power to its systems and Hall-effect thrusters. Credit: NASA
Even with its Hall-effect thrusters, NASA’s Psyche spacecraft cannot not reach its destination unaided, hence the fly-by of Mars. This allowed the spacecraft to use Mars’ gravity to give itself both a boost in speed – some 19,848 km/h at the time it approached Mars – and to swing itself onto an orbit inclination and overall trajectory to intercept the orbit of 16 Psyche as it travels around the Sun.
The manoeuvre was completed remotely and successfully, the spacecraft coming to within 4,500 kilometres of Mars. Furthermore, the entire approach to Mars and the fly-by were used to further calibrate the spacecraft’s science instruments – which hopefully included takings pictures of Mars while relatively close to the planet using its stereo imagers.
Psyche is now on the second leg of its journey. It is due to enter an initial orbit around 16 Psyche in July 2029, where it will carry out further instrument calibration tests whilst lowering its orbit to some 700 km over the asteroid. It will then commence the first of four science campaigns, each as a different distances from the asteroid. This first campaign, with the spacecraft in a roughly polar orbit will last for 56 days, imaging and mapping 16 Psyche’s surface from a roughly polar orbit.
A rendering of how 16 Psyche as it might appear to the Psyche spacecraft whilst in orbit around the asteroid. Credit: NASA
In the second campaign, the spacecraft will close to just over 300 km above the asteroid for a further 92 days in roughly polar orbit and examine it in more detail. From here it will translate to a near equatorial orbit around the asteroid at just 75km above its surface, allowing it to study those parts of the asteroid it was unable to image clearly due to lighting issues in the earlier campaign.
The spacecraft will then remain in this low orbit for 100 days before translating back to 190km from 16 Psyche, where it will remain for a further 100 days for the final science campaign. After this, and some 26 months after arriving at the asteroid, the plan is to shutdown the spacecraft as its propellants will be close to expended, and ensure it is safely “parked” orbiting the asteroid.
Blue Origin Delivers Lunar Lander Training Mock-up to NASA
Following my previous piece on the Artemis Human Landing System (HLS) vehicles, NASA and Blue Origin announced the latter has now delivered a full-scale training / study mock-up of the crew module for their Blue Moon Mark 2 (MK2) HLS vehicle.
Blue Origin’s mock-up of the Blue Moon MK2’s crew module as delivered to NASA’s Space Vehicle Mock-up Facility (SVMF) ready for further study and astronaut training. Credit NASA
The unit has been delivered to Johnson’s Space Vehicle Mock-up Facility (SVMF) and lacks the both the engine section that will sit below the crew module and the cryogenic fuel tanks that will sit above on the actual HLS vehicle, as these are not required in a mock-up.
At SVMF, the Blue Moon unit joins mock-ups of space station elements, SpaceX Crew Dragon vehicles and, most relevantly, the Orion spacecraft. It will be used by NASA and Blue Origin to conduct a series of human-in-the-loop tests (testing the design and its systems with human interaction), including mission scenarios, mission control communications, spacesuit checkouts, and preparations for simulated moonwalks. Feedback from the these and simulations will then go back into overall engineering and production decisions affecting the construction of the actual lander vehicles.
An interior shot of the Blue Moon MK2 lander showing the main flight deck area. Credit: NASA / Blue Moon
In all of this, the new unit builds on work initiated using an earlier mock-up located at Blue Origin’s own facilities, together with practical testing of a prototype of the vehicle’s airlock in NASA’s the Neutral Buoyancy Lab in 2025.
Artemis 3: More Details Released
On Wednesday May 13th, 2026, NASA provided further information on the revised Artemis 3 mission currently scheduled for late 2027.
Originally established as the first crewed mission to attempt a return to the lunar surface under the Artemis banner, the mission was re-defined by NASA Administrator Jared Isaacman in February 2026 to be a Earth-orbiting crewed test of one or both of the planned HLS vehicles. Prior to this decision being taken, the only in-space testing of either of the planned HLS vehicles required by NASA would have been uncrewed – hardly ideal.
In the Apollo era, for example, there was crewed testing of the Apollo lunar lander in Earth orbit during the Apollo 9 mission. This allowed astronauts gain hands-on experience in using the vehicle (e.g. piloted control and manoeuvring, ensuring the internal spaces are fit for purpose in zero gravity, etc.) within the environment in which it was designed to operate will before it was flown to the Moon as a part of an actual mission.
The Artemis 3 European Service Module (ESM) mounted on its vehicle adapter and about to undergo acoustic testing in NASA’s Operations and Checkout Facility at Kennedy Space Centre, May 7th, 2026. Credit: NASA / Jess Ruffa
However, other than announcing the use of Artemis 3 for physical testing prior to Artemis 4 and the first planned landing, there has been little further information on how Artemis 3 will work. Some of this detail has now been given, including:
The mission duration is to be longer than that of Artemis 2; as well as being used to test one or both of the HLS systems, it will include further tests on Orion’s own systems and capabilities.
The Space Launch System (SLS) booster to be used on the mission will not include the upper Interim Cryogenic Propulsion Stage (ICPS), as this is not required in order for the crew-carrying Orion vehicle to reach Earth orbit, where the HLS vehicle(s) are to be tested (it can do this using its European Service Module). Instead, a dummy “spacer” will replace the ICPS.
NASA plan to use the mission to also launch additional cubesat missions (as they did with Artemis 2) and is seeking proposal for such missions.
Artemis 3 is set to be one of the most complex mission NASA has yet undertaken, involving potentially involving the co-ordinated launch of three separate vehicles from three different providers, the on-orbit rendezvous and docking between Orion and up to two different orbiting targets, and the requirement for Orion to move between different orbits in order to do so. As such, there is more to come in terms of the mission and its parameters and goals in the coming months.
Inara Pey: Living in a Modemworld 