On Monday, June 8th, Linden Lab announced a number of changes to fees charged for various services which are to start to be introduced from Monday, June 15th. These changes specifically apply to:
Changes to the fees applicable to buying Linden Dollars.
Reducing the tier charged for selected Private regions types.
Increases to the amounts charged for selected Premium, and Premium Plus subscription payment plans.
The new region tier fees and minimum Linden Dollar order fee will come into effect from June 15th, 2026, and the new subscription fees take effect on applicable new and renewed subscriptions from Wednesday, July 8th, 2026.
Logos representative only and should not be seen as an endorsement / preference / recommendation
Updates from the week through to Sunday, June 7th, 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 update – No change.
Second Life Lua Editor Alpha viewer 6.1.0.23768336784, April 29 – No change.
A composite image of SR-1 Freedom (rendering) approaching its orbit around Mars. Credit: NASA
Just over a month ago NASA announced plans to test a nuclear propulsion system on mission to Mars. The news came as a surprise at the time, given it came a year after another nuclear propulsion project involving NASA had joined (along with the US Defense Advanced Research Project Agency (DARPA) had been cancelled.
Called DRACO (Demonstration Rocket for Agile Cislunar Operations), that project was formally initiated in 2021, with the intention of finally evaluating the deep space use of nuclear thermal propulsion (NTP) – that is, the use of a nuclear reactor to heat a propellant mass (usually liquid hydrogen) to generate thrust through the engine nozzles. Targeting a launch date in late 2027, DRACO was always ambitious, and inevitably ran afoul of technical and regulatory challenges starting it on the road to oblivion prior to funding via both DARPA and NASA being halted.
A rendering of the cancelled DRACO DRAPA / NASA nuclear thermal propulsion demonstrator mission. Credit: DARPA
The technological and regulatory problems faced by DRACO primarily concerned two key points. The first being the need for a liquid propellant (requiring substantial propellant mass and the additional mass and complexity of trying to keep the propellant in a liquid state through passive and active means in the full heat of the Sun).
More particularly, DRACO’s nuclear system was to be open cycle, meaning the liquid hydrogen would pass through the reactor system to turn it into the gas needed to propel the vehicle – irradiating it in the process. While people would likely not be too happy about a nuclear reactor spewing radioactive material into the upper atmosphere if it was used whilst in orbit around Earth, the bigger regulatory issue for DRACO was simply how could a system generating radioactive exhaust materials be safely tested on the ground?
Because of this, NASA’s new mission concept – called Space Reactor 1 (SR-1, with the vehicle itself to be called Freedom) instead intends to use nuclear electric propulsion. This is important because it allows the use of a closed cycle nuclear reactor – in this case a closed Brayton cycle fission reactor generating some 50 kW of electrical power. The key point here is that closed cycle reactors can avoid exposing a propellant to radiation, so the exhaust gasses exiting the engine is relatively “clean”. Thus, SR-1 theoretically avoids some of the regulatory issues faced by DRACO.
The “engines” in question for SR-1 are three 12 kW (nominal) Hall-effect thrusters. This in turn is important for a couple of reasons. Firstly, Hall-effect propulsion systems are well understood. Secondly, they utilise a far less volatile propellant than liquid hydrogen – generally Xenon – which a) doesn’t need to be a liquid form, and so b) avoids all the complexities of passive and active refrigeration. Both the use of the thrusters and the Xenon fuel therefore cuts out a lot of the technical complexities SR-1 could face when compared to DRACO. Further, SR-1 plans to use a propulsion module that has been in development for some time: the Power and Propulsion Element (PPE) which was to have been used on NASA’s (now cancelled) Lunar Gateway station. This could again help reduce the technical complexities designing SR-1 might otherwise face and it potentially gains political favour in that it offers a means to make good on some of the money already poured into Gateway.
A conceptual image with annotation of the proposed SR-1 Freedom vehicle. Credit: NASA
Nor is SR-1 intended to be a just demonstration of nuclear electric propulsion operating purely in near-Earth / cislunar space as was the case with DRACO; it is to be a genuine deep-space mission, delivering a payload to Mars in 2029, In doing so it will prove the complete viability of nuclear propulsion in space missions. The payload in question is the Skyfall – and no, it has nothing to do with James Bond!
First revealed as a conceptual study in mid-2025 by NASA’s Jet Propulsion Laboratory (JPL) and AeroVironment, Skyfall is designed to build on the experience gained in flying the Ingenuity helicopter on Mars as a part of the Mars 2020 mission (in which it flew 71 times, often in support of the Mars 2020 rover Perseverance. As initially conceived, Skyfall would utilise six updated versions of the Ingenuity design to carry out a range of scouting flights across Mars. For the purposes of the SR-1 mission, the number of helicopters has been reduced to three – but how they will be delivered into the Martian atmosphere remains dramatic.
When first proposed, Skyfall was to carry six Ingenuity-class helicopter drones to Mars. As a part of the SR-1 mission the number has been scaled back to three. Credit: AeroVironment / NASA
In short, the mission will use a version of the capsule design used to deliver both Perseverance and the Mars Science Laboratory (MSL) rover Curiosity to Mars in 2021 and 2012 respectively. This will protect the three helicopters both on the journey from Earth to Mars and through the heat and buffeting of entry into the Martian atmosphere. After deploying its main parachutes to slow its decent through the atmosphere and jettisoning its heat shield, the capsule will extend a launch platform underneath itself, allowing the three helicopters to power-up their blades and take flight.
Once airborne, the three craft will operate in parallel, carrying out daily low-level flights of Mars, landing to both recharge their batteries and pass the Martian nights. Each will carry a small science package on board, including high-resolution camera to image the terrain they are overflying (to be used in the planning for future missions to Mars) and ground penetrating radar to reveal what lies beneath that terrain, be it rock, permafrost or deposits of water ice.
However, neither Skyfall nor SR-1 are certain to go ahead as planned. Firstly, there is the extremely tight development / test and construction time frame – just 30 months if NASA really is going to achieve a December 2028 / January 2029 launch for the combined mission.
More particularly for SR-1, there are multiple complications still to be overcome. Perhaps the biggest of these is the reactor feedstock: high-assay low-enriched uranium 235 (aka HALEU, with between 5% and 20% enrichment). While this is ideal for use in compact reactors, it requires a dedicated nuclear fuel cycle infrastructure for its production, and this infrastructure is both limited and already at capacity. Whilst the US government is trying to scale HALEU production, this is not going to happen in the short-term. As such, SR-1 could take considerably longer than 30 months to reach a state in which it might reasonably be launched.
Goodnight, MAVEN
On June 3rd, 2026 NASA confirmed their MAVEN (Mars Atmosphere and Volatile EvolutioN) mission had come to an end after a total of 11 years and the orbiter officially classified as lost. The news came some 6 months after all contact with the orbiter was lost and after a long series of attempts to r-establish communications and to understand what might have happened.
Launched in 2013 and commencing its science mission around Mars in 2014, MAVEN was intended to study the Mars atmosphere in an attempt to understand the composition of the upper reaches of that atmosphere and better understand the mechanism at work in stripping away that atmosphere – particularly that of the solar wind. For over 10 years, MAVEN revealed many of Mars’ secrets and the risks human visiting the planet will face (such as solar storms striking the planet quickly doubling surface radiation levels on a temporary basis).
An artist’s impression of NASA MAVEN spacecraft orbiting Mars. Credit: NASA
The first indication that something had gone wrong with MAVEN came on December 4th, 2025, when it failed to resume contact with NASA’s Jet Propulsion Laboratory (JPL) after a routine passage around the far side of Mars. Two days later, JPL received a data fragment from the orbiter, suggesting it was rotating in an unexpected manner and may have deviated from its orbital track. On both December 16th and 20th, 2025, MAVEN passed directly over Gale Crater and the rove Curiosity, but despite the scanning the sky with its high-resolution MastCam along the orbiter’s expected track, there was no sign of MAVEN.
Attempts to regain contact with the orbiter continued at regular intervals throughout early 2026, but by April it was evident that the chances of re-establishing contact were rapidly diminishing. Thus, on By June 3rd, NASA issued a statement terminating the mission while efforts to understand exactly what had gone wrong would continue. Currently, the favoured hypothesis is that MAVEN had an unexpected issue, lost its communications orientation with Earth and was unable to recover. This may have additionally caused the vehicle to drift out of its expected orbit and / or result in its solar arrays being no longer able to generate sufficient power to keep the vehicle’s batteries operating, so it likely ran out of power.
In all, it’s a sad end to a mission that achieved so much, especially given the longevity we’ve come to expect of Mars missions around or on the planet once they have safely entered orbit or landed.
Blue Origin: A Major Malfunction – Update
As per my previous Space Sunday article, on Thursday, May 28th, 2026, a Blue Origin New Glenn booster exploded with tremendous force (estimated to be the equivalent of 1 kiloton of TNT), levelling much of Launch Complex 36 (LC-36) at Canaveral Space Force Base, California, the only facility in the world capable of handling the rocket.
Based on the available images and information available at that time, and as I noted in that article, it seemed that LC-36 would be out of action for at least a year; something that could have major ramifications for Blue Origin and NASA’s Artemis programme. However, June 2nd, 2026, Blue Origin CEO, Dave Limp took to social media with an update on matters which included some surprising news and ended with an even more surprising prediction.
Blue Origin’s launch facilities at LC-36(A) seen in 2025 from the roof of the vehicle and payload integration building, showing a New Glenn rocket atop the transporter-erector vehicle. Credit: Blue Origin
On summary, Limp indicated that:
The propellant farm alongside the launch pad weathered the explosion reasonably well and will not require significant rebuilding / replacement (although images have revealed a couple of the tanks do have significant denting).
The damage done to the main vehicle and payload integration building appears to far less severe than reports suggested, and the water tower serving the deluge / sound suppression system is largely undamaged.
Despite receiving some major damage near its base, the surviving lightning conductor tower can likely be repaired without being demolished – a comment which drew multiple surprised responses given the apparent extent of the damage.
Rather than building a new transporter-erector (TE – the 1800-tonne vehicle used to move New Glenn from the vehicle and payload integration building to the launch pad and then act as the rocket’s launch tower), the company will now pivot to a new vertical launch platform / transporter, something they were already planning to do prior to the explosion.
Most surprisingly, however, was Limp’s prediction that Blue Origin will resume New Glenn operations by the end of 2026. Given all that has to be done, both in terms of the rebuilding work at LC-36 (to say nothing as to how long investigations into the vehicle loss will take & what might yet be required to clear New Glenn to resume flights, it is fairly hard to see how this can be achieved. As such, a lot of eyes will be watching Blue Origin and LC-36 very closely over the next 6-7 months.
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.
Viewer 26.3.0 (performance improvements) remains the priority for issue and later promotion. This viewer will include 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.
Beyond this, there are on-going discussions within the Lab as to priorities for the viewer train going forward.
This might see the Lua Editor and the Linux updates for the viewer get merged into the Develop branch. However, if this does happen, it should not be taken to mean Lua is on the cusp of being formally released; rather it will will mean that the viewer side gets released within a viewer ahead of the back-0end support going grid wide (the latter loosely seen as being in the late summer at the earliest).
Setting feature flags within the viewer to gatekeep upcoming features and functionality until such time as it is generally available (as would be with the Lua code mentioned above) is also being discussed.
The Graphics Care Package Viewer (GCP) is effectively “on hold” for the present. However, it might see some additions made to it, such as the glTF transmission work (which will depend on the overall performance impact).
Maintenance releases are also in development. As has been indicated in past CCUG and Open Source meetings, these will be much smaller updates to the viewer, aimed at offering a more limited number of fixes (e.g. the top 5 or 10 issues / viewer crashers) than has been the case with past maintenance viewer updates. The first of these is probably going to be viewer 26.3.1 (i.e. following 26.3).
General Discussions
Kyle Linden confirmed the Second life Creation portal (/Getting Started with Scripting) has seen a lack of outward communications from LL, but the Lab definitely wants to proceed with building it out and does want to receive contributions. To this end he will be contacting those known to have produced documentation on things like Lua, and this work will be progressing in the near future.
It was requested that the upcoming rendering updates within the GCP viewer all have options to disable them if people do not wish to use them.
Geenz pointed out that rather than options to disable, all of the items with could impact performance (such as glTF transmission) will have drop-down options within Preferences, allowing their quality, to be lowered, limiting any performance impact. However, some capabilities (e.g. glTF metallic) will remain enabled at all times, as they are viewed as essential to content.
A general conversation about possibly reintroducing texture sampling / supporting glTF texture filtering, plus looking beyond OpenGL together with upscaling resolution via the likes of AMD’s FSR, Nvidia’s DLSS, Intel’s XeSS, etc. See here for more), with Geenz noting the with the deprecation of OpenGL, LL is getting increasingly constrained as to what they can do, although FSR is a “maybe”, as there has been some backporting of support to OpenGL.
The above being said, LL is currently still looking at API options (e.g. Vulkan / Metal / WGPU (the latter being seen as suiting a wider mixed of older hardware can address multiple APIs)), although the focus at the moment is on finding a good inflection point to determine the direction which should be taken (such as Apple finally finally ending their support of OpenGL, rather than deprecating it but still supporting in through Mac Os 14 Sonoma).
Conversations not directly related to content creation included Nvidia’s new CPU/GPU ARM chips and how they may affect hardware (and Windows support) in the future; availability of Second Life OpenSpace regions; whether Second Life can have regions larger than 256×256 sq m (not on the horizon).
Reality Escape, June 2026 – click any image for full size
I received a personal invite from Tripty (triptychlysl) to hop over and visit the latest (at the time of writing) iteration of her Full region design, Reality Escape. This is a destination I’ve enjoyed visiting ever since I first dropped in over three years ago, so I was only too happy to grab my camera and hop over as soon as the opportunity presented itself.
As I’ve noted in writing about Reality Escape in the past, this is a setting which always delights in the way it presents something new to see and enjoy with each iteration, but which also retains certain elements and motifs from design to design which give it both a sense of continuity between iterations and also a sense of welcoming familiarity. These elements and motifs are appropriately summed up in the regions sub-title: Books, Coffee & Chairs – something else I’ve likely mentioned in the past adds to my attraction to the region: one of my favourite pastimes is curling up in my “reading armchair” with a good book and a nice big mug of coffee with the beans freshly ground and the milk suitably steamed!
Reality Escape, June 2026
For summer 2026, Tripty presents an island setting into which the surrounding waters have made their way. The result is a rocky-edged landscape broken up by broad bays reaching into it, the waters seeping into the low-lying areas to form wetlands rich in pond grass, frogbit and floating islands of marsh vines. Whilst none of the land is truly broken up into individual isles – tongues of grassy rock connect one to the next with steps providing routes between the mores elevated parts of the landscape and those loser to the water – travel over the waters is facilitated through the use of stepping stones and little bridges of various forms.
The Landing Point, sitting on the south side of the setting, once again takes the familiar form of a deck leading up to a little coffee house, with Tripty’s welcoming signs greeting new arrivals. This all sits on a little headland of grass-covered rock which the encroaching waters have tried very hard to separate from the rest of the land only to be frustrated by a dry causeway pointing northwards and inland, a dirt-topped path along its back inviting visitors to follow it.
Reality Escape, June 2026
On the west side of this headland lies the largest body of water to work its way inland, a fallen tree trunk forms a makeshift bridge (complete with warnings about drinking and driving and not parking on its narrow width!) to pass over the water alongside the coffee house, connecting as it does to stepping stones dancing their way across the mouth of the bay to reach a further low-lying headland.
This second promontory is curtained into two halves by a tall trelliswork hanging with vines. To one side, where the stepping stones connect to the land via a novel means, the waters become shallow enough for the pond grass and frogbit to grow, giving the water’s edge that wetland feel. The hull of a large boat sits low in the waters here, its interior turned into a garden space whilst its hull helps to shelter the shallows and encourage the plant growth across the water’s surface. Whilst the ground closer to the promontory is largely dry, two hippy-like gnomes look like they are trying to encourage the wetlands to spread, a hosepipe held by one ready to release tap water. a VW van serving as a flower planter sits in the grass close, but whether it once belonged to the hippy gnomes is up to you to decide.
Reality Escape, June 2026
The far side of the vine-draped trellis offers a further flat-topped space where a garden party, books, and even a quiet snooze on a hammock might be enjoyed, the trellis work with its vines combining with a curtain wall of rock to give this western side of the setting a sense of peaceful separation from the rest. However, it is at its northern end connected to a broad ribbon of beach running back eastwards to join with the rest of the region. Backing this beach and facing the bay as they look back towards the Landing Point coffee house, are the chair arches which are another motif that links each new iteration of Reality Escape with its predecessors.
Further to the east the land is again mixed, tongues of low-lying, flat-topped rock providing grassy walks around and across another inlet cutting its way inland, together with elevated plateaux forming the region’s “highlands”. Here again, bridges and stepping stones help to keep the feet dry when exploring – the most visible of the former reached on one side by the most novel of chair stairs. This latter bridge overlooks a large structure mindful of both an A-frame building and a greenhouse, under and within which everything is set for a tea party, although the sole guest is a Siamese cat rather than the Usual Suspects one so easily associates with tea parties…
Reality Escape, June 2026
The cat is one of several quietly keeping an eye on Reality Escape, recording all comings and goings with that attitude of curious indifference domestic felines so casually exude. They are not the only animals to be found within the setting, and Tripty’s considered use of wildlife and birds within her designs always bring them further to life, adding both a deeper sense of nature and at time little touches which help bring a smile to one’s face.
Nor are animals and birds the only touches which help bring Reality Escape to life; there is obviously the unique use of chairs, but there are also numerous small touches and elements awaiting discovery, be they the the crescent Moon sitting on the water or the hints of witchcraft and magic present on a table and below the angled rocks of a cairn (and so easily missed as attention is inevitably drawn to the large tent close by, within which fortune telling, tarot readings and even, perhaps, elixirs and potions are offered) or the many places to sit and pass the time both on the land and on the waters.
Reality Escape, June 2026
One of the many things I appreciate with Reality Escape is the sense of peace it carries within it; nothing about the region is overblown, nothing feels out-of-place. From the lay of the land through the inclusion of the familiar elements to the soft and subtle presence of the soundscape, it all just works. In doing so, it carries a sense of restorative power; a place where the mind can be cleared, the imagination lost in wonder, the heart offered peace and the chance to share. With open rezzing (auto-return set to 30 minutes) the region is also ideal for photographers looking for a location which offers an engaging backdrop for their creativity.
So, whether you are seeking a place to rest, a place to wander with the freedom of your own imagination or a place to spend time with a friend – Reality Escape is the place to visit. My thanks to Tripty for the invitation to once again drop in!
“This exhibition is a summary of the last fifteen years of my work as an artist; mostly as a Second Life artist.” Bamboo Barnes says of her exhibition Ko Ko Ko Ko, which opened at Frank Atisso’s Artsville in Second Life on June 1st, 2026.
Occupying three sky platforms – one forming the entrance level and the other two the gallery levels, all linked via a teleport system which also connects back to Artsville’s ground level – this might be said to be something of a retrospective of Bamboo’s art, although I found myself looking on it more as an introspective celebration of her work.
Artsville, June 2026: Bamboo Barnes – Ko Ko Ko Ko
That I use the term “introspective” with regards to Bamboo’s work should come as no surprise; her work is rich in both her use of colour and framing and in her ability to offer reflections of her inner self; reflections that very often chime with our own, becoming something personal to both artist and viewer.
“Celebration” is equally valid in that the pieces within the exhibition do reflect the many facets of Bamboo’s art; art which has developed and changed over the years whilst remaining indelibly Bamboo. In this it also celebrate the fact that many of these changes have caught Bamboo herself by surprise, as someone who acknowledges that in life, she is uncomfortable with change.
There were times when my work took unexpected turns. Maybe it was inevitable. I came to love those changes in my creative path — otherwise I would not have continued loving my own art.
Bamboo Barnes
Artsville, June 2026: Bamboo Barnes – Ko Ko Ko Ko
Discomfort with change is also something that resonates in all of us. Few people like uncertainty in which the outcome cannot be foreseen; we’re often far more content to maintain the status quo. But without change we risk atrophy – and that is a state which cannot be applied to Bamboo’s art. It has grown and changed over the years, often in the most subtle of ways, each new experiment or turn of style adding to the sum total of her ability to express, to touch, to engage with us.
Bamboo notes that the term “ko” carries multiple meanings, whilst “koko” can mean “here”. I’m personally please that she is here in SL, quietly creating images and art, gently prompting us to consider who and where we are through the prism of her own self-reflection.