Soul Deep, July 2026 – click any image for full size
I dropped in to Kaelyn Elara’s Soul Deep recently, some 16 months after my last visit. At that time the region comprised a series of islands under a summer Sun, the design by Kaelyn and Jacky Macpherson. Richly detailed and with paths and trails to wander, it was a place I found relaxing for exploring both on foot and on horseback.
For my July 2026, I found the region was now a single, roughly T-shaped island caught in that period of time when summer is vying with autumn (or fall if you prefer) for our attention.
Soul Deep, July 2026
It’s a setting that comes with an almost poetic description by Kaelyn:
Where the salt wind carries whispers of Autumn. Wander weathered beaches, follow winding paths through golden grasses, and rest beneath trees that lean toward the sea.
Here, hammocks sway, campfires glow, and gulls wheel above an ocean that feels endless. This is a place for slow breaths, long looks, and soul-deep moments, where hope drifts in like the tide and stays a while.
– Kaelyn Elara on Soul Deep
Soul Deep, July 2026
The Landing Point sits close to the northern coastline of the “bar” to the island’s “T”, sitting on a rough path running west-to-east and between two of the three buildings to be found here. One of these, off to the east, is a café space while the one to the west is a cosy cabin. Both have a little camp site close by.
The island is low-lying; a mix of scrub grass, sand and trees, the ground broken here and there by groups of rocks. Off to the south, at the end of the second arm of the island sits a large wooden house (the Piper Hideaway by Cory Edo), this one with a little camp fire outside. Another trail meanders down to it from the north end of the island .
Soul Deep, July 2026
There are two Teegle horse rezzing hitching posts with this setting. When touch, these will offer a selection of horses of various breeds and sizes -turn of your AO and then right-click the horse to mount / sit. The mostly open nature of the island makes riding easy (just mind the beach fencing!).
The beaches offer places to sit and relax as gulls circle overhead (or keep watch on things from local signs!) and sailboats lie offshore. it’s a genuinely relaxing setting, rich in local sounds.
Soul Deep, July 2026
What I love about Soul Deep is the continued simplicity Kaelyn and Jacky place in their designs; the settings are always entirely natural in look and feel, never overcrowded; just rich in details and small touches.
Just take the way the cabin and the house are furnished – both are open to the public – or the way the café and its seating are laid out; they all offer a sense of life and presence, but never of any artificiality or sense of being props.
Soul Deep, July 2026
The same is true for the landscaping and the the items and objects to be found around the island – the rowing boats, the signs – everything has a simple, binding beauty.
Photogenic and peaceful, Soul Deep continues to present the perfect getaway setting to soothe the mind.
Second Life has long held a deserved reputation for assisting people with a wide range of disabilities to share in virtual activities, make friends and connections, and thrive in ways not always available to them in the physical world. As a core part of this, Virtual Ability Inc (VAI) has been continuously active in Second Life for almost two decades.
In doing so, VAI has gained international renown for its annual conferences and symposia – some of which I’ve tried to support through these pages – and is recognised throughout Second Life for its unstinting work to support all those with disabilities who participate in the platform and the rich diversity of opportunities it offers.
More than just a “virtual place,” Virtual Ability is a true community, where individuals who physically live across the globe come together for conversation, learning, social activities, expeditions, and fun. Some take courses; others teach. Some mentor, others are mentored. Members create or build virtual architecture, write books or poetry, perform in plays, DJ, dance, play games, raise virtual gardens and virtual animals, or experience adventures of every type… all in a virtual world, from the comfort of their own computer. Community members bring extremely diverse backgrounds and experiences to the group and many are also active in other virtual world groups.
– From the VAI website
Now, through the generosity of Linden Lab with the donation of L$250,000 (one of four such donations given to deserving organisations announced during SL23B Golden Ticket Giveaway event), VAI has launched Mobility Without Limits, a contest a contest for creators to build wheelchairs that improve accessibility, mobility, expression, and roleplay for Second Life residents, and which offers generous Linden Dollar prizes of up to L$50,000 to winning entrants.
The Contest
The contest invites Second Life creators to design innovative, full-permission wheelchairs that enhance mobility, self-expression and role-play for residents. Linden Dollar prizes totalling the L$250,000 awarded to VAI by Linden Lab will be presented to winning entrants across four categories of design:
Everyday Mobility – practical chairs for daily use. This includes traditional-looking wheelchairs such as those typically found in hospitals, clinics, or care facilities. It may include full-sized or lightweight chairs, elderly-friendly, or other chairs with a standard appearance.
Racing and Sports – wheelchairs used in competition or recreation such as marathons, basketball, tennis, etc. They are typically sleeker or more streamlined than traditional chairs. These chairs will be judged higher if they have items such as custom racing animations, speed effects, and/or sports-related accessories.
Fantasy and Sci-Fi – for whimsical but usable designs. Potential examples include steampunk, cyberpunk, elven, magical floating chairs, drone/jetpack chairs, retro. Creativity is encouraged!
Mobility for Every Avatar – for designs created specifically for avatars whose size or proportions require something beyond a standard wheelchair, including tinies, dinkies, larger avatars, or fantasy and other unique body types.
Wheelchairs should preferably be wearable objects to ensure maximum opportunities for use. However, vehicle-style wheelchairs are not excluded from entry.
Judging
Entries will be judged by a volunteer panel that includes residents who regularly use wheelchairs in-world, experienced Second Life creators, accessibility advocates, and event organisers from the Virtual Ability community.
The judges will evaluate each entry across the criteria of functionality, creativity, appearance, and script/animation integration. Wheelchairs that are easy to use, exhibit appropriately integrated animations, adjustable seating and avatar positioning, adjustable colouring and styling of wheels, cushions or accessories, and compatibility with different body types will score higher.
Winning entries will receive in-world Linden Dollar prizes, and the winning wheelchairs will be provided by Virtual Ability to anyone in the SL community.
Prizes
Within each of the four categories, prizes will be awarded as follows:
First prize: L$30,000
Second prize: L$15000
Third prize: L$5,000
Special grand prize across all categories: L$50,000.
Note that all prizes will be made only in Linden Dollars via in-world transfer to the wheelchair’s named creator (as shown via the viewer’s Edit floater).
Requirements for Entry and How to Enter
Requirements
All wheelchairs submitted must be original and created specifically for this contest. Use of pre-fabricated parts in a design is allowed, so long as the wheelchair is substantially new, the builder has transferable rights to all components, and the submitted wheelchair has the permissions listed below.
Collaborative entries are allowed, but any prize awarded will only be paid to the avatar identified as the wheelchair’s creator. It is up to the members of any collaborating groups to ensure the disbursement of winnings among themselves; Virtual Ability Inc., will not be party to any disputes arising there from.
Entries should be made in-world via an Inventory folder bearing a suitable name and containing:
A notecard bearing the following information:
The entrant’s avatar user name or names (please do not use Display Names).
The name of the wheelchair.
The contest category being entered.
The following language, which represents an agreement to the contest terms and conditions:
I hereby provide a non-exclusive, unrestricted, unconditional, unlimited, worldwide, irrevocable, perpetual, and cost-free right and license to Virtual Ability whereby they may use, copy, display, distribute, or modify my contest entry and all its components in support of Virtual Ability’s accessibility, educational, and community programs, or for any purpose Virtual Ability wishes, free of charge. I confirm that I, the creator, retain all intellectual property rights to my work beyond this license.
A full permission (copy, modify, and transfer) version of the wheelchair, plus any in-world accessories designed to be used with it (if applicable).
Any required HUD for use with the wheelchair (the HUD and all scripts used within the wheelchair and accessories can be no-modify, but must allow copy and transfer).
In addition, and if entrants so wish, they can include an optional second notecard with brief information about themselves as a wheelchair creator, and which may also include items such as links to their stores (in-world or Marketplace), etc. For winning entrants, these cards will also be included with the relevant wheelchair when it is distributed to residents.
How To Enter
Completed entry folders should be passed in-world to the avatar VirtualAbility Gumbo.
All entries must be received no later than Wednesday, September 30, 2026.
Winners will be announced by Saturday, October 10, 2026.
Further information
Full information on the contest, including requirements for entry as noted above and a FAQ addressing likely questions on the contest can be found on the VAI contest page.
All enquiries or feedback on the competition should be made to Eme Capalini or Pecos Kidd in-world. If you are an active Discord user, contact either Eme or Pecos for an invite to the contest-specific VAI Discord channel and post comments there.
Please note that feedback and enquiries cannot be addressed through this blog.
Commenting on the gift of L$250,000 and the contest, VAI’s President, Gentle Heron said:
On behalf of the Virtual Ability community, I would like to extend our sincere thanks to Linden Lab for their generous L$250,000 donation announced at the recent SL23B Golden Ticket Giveaway event. One of Virtual Ability’s core values is giving back to the Second Life community. We are delighted to announce that we will pay Linden Lab’s generosity forward and use their donation to fund Mobility Without Limits. By funding prizes that will go directly to Second Life creators, we hope to help strengthen the broader virtual world community while expanding the range of mobility options available to residents.
We are honoured to be recognised in the work we have to help make Second Life more welcoming and accessible for everyone, and to be able to continue to be part of this remarkable world.
Galeria Danae: Bjarni Danae – The Art of Gradient Mesh
Gradient mesh is a technique for creating complex colour transitions across a surface. Using a grid of adjustable control points, or nodes, it allows multiple colours to blend smoothly in multiple directions such that they flow and create a sense of shape, light and shadow far more organically than is possible when using more traditional linear, radial, diamond or angular gradients, where the transition is along a line or radiating from a single or central point, and with much finer blending than might be achieved using blur gradient.
Within graphics design, gradient mesh can be used in things like user interface design for apps and web pages, through to creating digital art in a rich variety of styles and genres, and with extraordinary depth. It is a technique particularly effective in producing photo-realistic digital art.
Galeria Danae: Bjarni Danae – The Art of Gradient Mesh
This latter use is amply and marvellously demonstrated by Bjarni Guero Danae (Ominur) at his Galeria Danae, home to his exhibition The Art of Gradient Mesh.
Set within a modern, minimalist skybox space, this is a comprehensive collection of gradient mesh art not just because each piece has been created using the technique, but because each image is shown with its corresponding mesh of control points used to give it colour and depth. Thus, we see both the art and the means by which it was given its final form.
Galeria Danae: Bjarni Danae – The Art of Gradient Mesh
From musical instruments to human studies, cars, bottles, flowers, headwear and more, Bjarni presents the rich tapestry of opportunities the technique presents to create the most eye-catching art. I particularly found the pieces featuring musical instruments particularly engaging, given the eye and skill for manipulation of control points to generate a piece of art might be likened to the skills involved in reading music and playing an instrument.
Some of the pieces are so reach in depth, colour, form and presence it is hard to consider them anything but photographs of real objects. Just take the four images of drinks to the left of the bar or (my personal favourite, given I use one to warm to warm the alcohol – usually kahlua -when making a liqueur coffee!) the brandy warmer, together with the image looking up at a sculpture.
Galeria Danae: Bjarni Danae – The Art of Gradient Mesh
As to why he creates gradient mesh art, Bjarni gives a personal reason as rich and approachable as the pieces on display:
Gradient mesh work makes the world disappear. It makes noise go quiet. It challenges my creating problem-solving, and being good at this helps me be better at everything else. Yes, it is time-consuming … But at the end, it is the satisfying feeling of accomplishment. It’s what I do to relax after designing for others all day long.
Those are perfectly understandable sentiments; because of them, we are all able to enjoy the pieces displayed at Galeria Danae not just because of the manner in which the reveal the structure of gradient mesh so vividly, but because they are all genuinely and uniquely works of artistic refinement and beauty.
Do be sure to visit!
Galeria Danae: Bjarni Danae – The Art of Gradient Mesh
Notable Art Gallery, July 2026 – click any image for full size
The delightfully named Perspective Doodles is a Full private region leveraging the Land Capacity available to those regions to present a Group-held setting with multiple elements from ancient ruins through a town-like commercial district and a games-focused spa, and an art gallery.
It was the latter – the Notable Art Gallery – which drew me to the region. The work of Nyte Vargas Siegel Setner (Nyte Vargas), the gallery is designed to offer a rich mix of Second Life and physical world art and photography, poetry and special exhibitions and challenges. And it is extremely well organised and presented.
Notable Art Gallery, July 2026
Sitting within its own garden space, the gallery occupies an imposing conservatory comprising six major rooms all connected by glass spaces and built around two ornate fish ponds. Five of the main rooms and the linking glass-enclosed walks present art, with the foremost room forming the Gallery’s foyer.
The gallery’s programme is a mix of collections by the artists in residence, together with themed exhibitions and and art-related challenges. A schedule on the latter two can be obtained from the desk to the left side of the foyer when entering, along with a Group joiner for those wishing to be kept appraised of future events, challenges and activities. To the right of the foyer is an second desk promoting the artists in residence, all of whom have their collections displayed through most of the rest of the conservatory.
Notable Art Gallery, July 2026
To the rear of the gallery is a lawned garden with some seating space, together with a wall area to one side of the main building which I assume is for outdoor displays – perhaps seeing use during the themed exhibitions and art challenges. I also gather there will be a further exhibition space for child avatars as well.
Beyond the gallery, the region offers several more areas which might be explored, including a town-like commercial distract and the spa mentioned above, the building of both the spa and the town having a Tudor look to them. The spa has a mix of table-top and playable games within it, but being honest, I didn’t really spend too much time at the spa (or the town) – other than to make may way down from the spa to the beach tucked away below it and to spot the 7 Seas Fishing tucked away below the commercial area.
Notable Art Gallery, July 2026
This is because I was somewhat more attracted by the land separating the gallery from the town and spa, together with the ruins to the north-west of the region.
The former comprises both open grazing and a fenced paddock, the open area given over to horses some cattle and a wandering stag saddled for riding, while the fenced paddock is home to more cattle and quietly grazing sheep. Although the saddled stag cannot be ridden, the small stable to one side of the field does offer a horse rezzer for those who would like to take a ride, and there is a bubble rezzer sitting alongside the stable if those wishing to float around the region.
Perspective Doodles: paddock, July 2026
However, the most interesting feature of the open field is the gathering of four glowing portals around a central raised plinth with a spiralling blue light. While the portals may not be actual teleports, they add a sense of mystical intrigue to the setting; why are they here? who might have placed them so, and for what reason?
Meanwhile, the ruins – which can be reached directly from the Gallery’s garden via an archway on their west side – have their own mystery. They are called the Ruins of Eiralith, although I have no idea if this is an intentional reference to The Beginning after the End or not.
Ruins of Eiralith, July 2026
Aged, some with their facing weathered away, guarded by dry stone walls and standing in their own grounds, the ruins have been repurposed into an open-air cathedral for hosting weddings. Wisteria is draped over walls and beams giving the ruins a romantic feel, and I particularly liked the lone arch sitting at the head of steps leading up from the main ruins, standing as if it is the last remnant of a great bell tower.
The mystery of the ruins comes in the form of strange, luminous fungi growing in corners. The growths cast a soft, otherworldly light over their immediate surroundings and their presence adds an otherworldliness to the ruins. Close by, a group of standing stones gives a further sense of antiquity to this part of the region.
Ruins of Eiralith, July 2026
If I’m totally honest, I couldn’t help be feel that the commercial area was perhaps a little at odds with the rest of the region, largely because of the great expanse of the cobbled base on which it stands.
To be fair, I’ve no idea if it is still a work-in-progress, but my impression was that it could do with more to break-up the expanse of cobbles: maybe planters and young trees growing within tree grates and some seating. But that is a personal view; the position of the commercial area is such that it doesn’t overpower the rest of the setting to the point of distraction.
Notable Art Gallery, July 2026
Overall, and as noted above, the gallery is excellently presented with the art rich and varied. The care put into the schedule of exhibitions and events should hopefully encourage repeat visits, and I hope such activities will also be advertised through the likes of the .:SLArt:. Group – something I would most certainly recommend if this is not already the case.
Similarly, the Ruins of Eiralith offer a focal point for photography and quiet, gentle exploration, with a particularly charming place to sit on the very edge of the northern cliffs and offering a view down to the remote beach below. Both the gallery and the ruins make for an engaging visit to Perspective Doodles, with the pastoral feel of the fields and livestock add their own touch to the region.
Either Blue Origin (left) and SpaceX (right) is due to provide the lunar lander for Artemis 4 – but should the landing take place in the Lunar South Polar Region?
Artemis 4 is currently scheduled to mark America’s return to the surface of the Moon in 2028. However, as I’ve noted in covering the programme in this column, there are several technical matters which need to be addressed – particularly if SpaceX remains the supplier of choice for the mission’s lunar lander – which could see the mission slip back to 2029. But now questions on exactly where Artemis 4 should be going.
Taken as The Artemis Project aims to send humans to the Lunar South Polar Region with the aim of establishing a base there, on the basis that base parts of the Moon’s polar regions remain in complete shadow all the time – notably the bottoms of craters – then it is possible there is accessible water ice to be found which could make lunar operations somewhat easier (providing water for drinking / cooling systems, air, ingredients for rocket motor propellants).
The overall goal of the mission is to primarily check-out what will be largely untested hardware, equipment and systems – both in terms of the lander vehicles and the space suits developed for Artemis. But do these necessarily need to be tested using a mission to the Lunar South Polar region? Could they not equally be carried out using a more equatorial landing zone, one which involves less complexity in its execution – and potentially less risk?
Map of candidate landing regions in the Artemis exploration zone (90°S to 84°S), as identified by NASA, 2022 and 2024. Credit: Lunar and Planetary Institute
Landing at the lunar equator offers predictable solar illumination, simplified orbital dynamics, and reduced communication blackout risks compared to the high-latitude Lunar South Polar Region. While much of the latter does experience near-continuous daylight, its chaotic topography with dramatic elevation changes coupled with a low-angle solar elevation (thus resulting in areas remaining in deep shadow, even outside of craters) present severe hazards for landing craft and extravehicular operations.
Thus, by targeting the more “known” regions of the Moon, such as Mare Imbrium (in which Apollo 17 landed) and Mare Tranquillitatis (Apollo 11), Artemis 4 could operate in a somewhat more predictable operational envelope than would be the case with a South Polar Region landing. This would potentially allow for better initial testing of guidance, control, automated landing systems and communications systems.
The latest voice to be heard advocating for this approach is that of Artemis 2 pilot, Victor Glover, who likened the switch to a more stepwise approach to lunar operations. For example, in the 1960s, NASA initially tested the Apollo Command and Service Module in Earth orbit (Apollo 7), then in a flight around the Moon (Apollo 8), then the lunar lander was tested in Earth orbit (Apollo 9) and then on a non-landing voyage to the Moon where its decent / ascent capabilities could be tested in lunar conditions (Apollo 10). Further, the Apollo missions grew in complexity, making targeting more difficult landing sites more acceptable as experience was gained from earlier missions and the capabilities of the vehicles and their systems became more clearly understood.
Credit: Lunar and Planetary Institute
By contrast, Artemis effective jumps: from an uncrewed cislunar test of the Orion Earth-Moon-Earth vehicle (Artemis 1) to a crewed cislunar test of Orion (Artemis 2) to a semi-orbital test of the landing vehicles in Earth orbit (Artemis 3 – which will not even be a test of either vehicle’s flight and propulsion systems) to attempting a landing in a very challenging environment; so there is much to be said for revising efforts.
As well as lowering the technical complexity of the initial mission, Glover raises a health reason. What if a crew member suffers and injury or medical situation requiring evacuation to Earth? With Apollo, the Command and Service Module orbited between 100 and 300 km above the lunar surface. This made getting back to it aboard the lunar lander in an emergency, and it would be in a position to rendezvous with the ascend lander every few orbits, and likewise be able to more readily to break orbit and return to Earth.
Missions to the Lunar South Polar Regions require a more complex, propellant-intensive flight, culminating in an Elliptical Polar Orbit with Coplanar Line of Apsides (EPO/coLA). Because more propellant is required, this orbit must vary between 100 and 6,500 km above the Earth, as the high altitude is required for Orion to be able to break orbit and return to Earth; lower than this, and it could have insufficient fuel remaining to escape the Moon.
NASA Astronaut and mission pilot for Artemis 2, victor Glover. Credit: NASA
Because of its range, this EPO/coLA orbit means that a rendezvous between Orion and an ascending lander can only happen once every couple of days or so. By switching to a more equatorial landing zone, propellant usage is reduced, making Orion more capable of entering a more circular, lower orbit of the Moon, thus presenting more opportunities for an emergency rendezvous with the lander should this be required. Of course, this doesn’t solve the issue of emergency evacuations on missions are Artemis 4; what it does mean is that the risks associated with the “first time” nature of Artemis 4 might be further reduced.
In terms of missions beyond Artemis 4, SpaceX have already suggested that their massive Starship-derived land could actually take Orion to the Moon if the two were to dock in Earth orbit. This would conserve Orion’s propellant, potentially allowing the elliptical nature of the EPO/coLA orbit to be reduced, again offering more opportunities for emergency rendezvous in lunar orbit. Similarly, the switch to using a modified Vulcan-Centaur booster and the upper stage of the SLS rocket, replacing the current Interim Cryogenic Propulsion Stage (ICPS) could also allow the EPO/coLA orbit range to be reduced, again allowing windows for Orion / lander rendezvous to be increased.
Finally, Glover (and others) note that the political onus on Artemis 4 is increasingly about “beating the Chinese” rather than achieving science / engineering goals. If this is the case, then a mission to land within the Moon’s more familiar equatorial regions, building on all of the knowledge gained on such mission during Apollo, would help make that goal easier by removing several levels of complexity to Artemis 4.
Thus far, NASA management has given no indication any such shift will be made, but in many respects it does fit with a more step-by-step approach to lunar operations they have adopted since the start of 2026.
Starship IFT-13: More of the Same, but with Twists
On July 24th, SpaceX completed the 13th integrated flight test (IFT) of its Starship / Super Heavy booster combination, flying the “version 3” of each vehicle for the second time, the fist having been in May 2026.
A camera mounted on one of the two forward flaps of Starship S40 looks back down the length of the vehicle and its Super Heavy booster towards the Boca Chica launch site as IFT-13 approaches max-Q following launch on July 24, 2026. Credit: SpaceX
In broad terms, the flight was something of re-run of the past few missions: launch, get Starship to sub-orbital velocity / altitude, return the Super Heavy booster for a controlled splashdown in the Gulf of Mexico, with the Starship deploying a payload before initiating a test-restart of one of its engines and then making a re-entry and splashdown in the Indian Ocean not all of which had been achieved through IFT-10 through 12.
An initial attempt to launch the flight had been made on July 16th, but was halted by on-board systems when four of the booster’s 33 Raptor engines failed to ignite. Subsequent analysis revealed that due to the way the engines are chilled, ice had formed within those four engines, choking them at start-up. This resulted in two of the engines having to be swapped-out on the pad. A second Attempt on July 23rd was scrubbed as cloud would have obscured observations of the vehicle’s ascent.
On July 24th, things went remarkably smoothly, with the raw power of the Raptor 3 engines clearly seen – it took just sixty seconds for the booster and ship to go from the launch platform to supersonic speed and then pass through max-Q (the point of highest dynamic stress on the vehicles during ascent).
As the Super Heavy booster performs its boost-back flip, a camera on its hull captures Starship S40 with all six engines lit. Credit: SpaceX
Hot staging took place with the booster shutting down all but five of its engines as the ship fired-up its six engines. On separation, the booster immediately vectored away from the ascending Starship, avoiding the issue which led to a failure with the boost-back engine burn seen with IFT-12 in May. However, the booster did suffer a engine re-start failure just before a planned splashdown in the Gulf of Mexico, when only 9 of the anticipated 13 engines restarted – and four of those immediately shut down again and the booster hit the water at an estimated 160 km/h. This and the ice issues of July 16th suggest the Raptor 3 still needs refinement.
Starship S40, however, went on to achieve sub-orbital flight, deployed its payload, finally carried out a restart of an engine (something the last several flights have tried and failed to achieve, and which forms a vital part of vehicle operations) and then made a perfect re-entry into, and passage through, the denser atmosphere. Finally, it successfully re-lit three engines, flipped itself vertically to make a gentle landing in the Indian Ocean. So gentle, in fact, it didn’t explode; it gently tipped over on its back to float on the ocean, small fires licking around the hull caused by vented gases. This obliging allowed the aerial drone patrolling the landing zone to capture video of the vehicle’s re-entry heat shield for analysis.
The key difference between this mission and the earlier payload carrying sub-orbital flights lay in the fact that this time, and actual working payload was carried aloft in the form of 20 Starlink v3 satellites.
A flap-mounted camera on StarshipS40 captures some of the deployed Starlink satellites reflecting sunlight (white) and seemingly firing their icon thrusters (blue dots). Credit: SpaceX
At up to 2 tonnes each, and with a span of 15 metres with their solar arrays open, the Starlink v3 is a veritable monster compared to the v1 (300 kg) and v2 (600 kg) variants and offers gigabit levels of data transfer rates.
These satellites are seen as vital to Starlink’s future, and are wholly dependent on the Starship / Super Heavy combination to launch them, as they are too big and bulky to be launched en-masse by Falcon 9 (hence why SpaceX is almost solely focused on getting Starship working with a Starlink deployment system rather than building it capable of delivering a range of payloads to orbit – in fact, there is an argument to make that Starlink is Starship’s only viable payload, but that’s for another article).
Starship S20 “bellyflops” through the atmosphere after re-entry, the four and aft flaps maintaining its aerodynamic control. Credit: SpaceX
None of the deployed Starlink units survived long – just 20 minutes given they were sub-orbital as well. However, this was long enough for SpaceX to test their ion engines and communications capabilities, hooking them into the main Starlink network and testing their laser communications systems among themselves.
Six of the satellites were fitted with cameras and spotlights, and were tasked with following the starship vehicle down through re-entry, filming its manoeuvres and interactions with the upper atmosphere. At the time of writing, none of that footage, if successfully relayed to Earth, has been released.
Almost 2 minutes after splashing down vertical and then toppling into the sea, S20 floats as fires from vents gases burn around parts of it. Credit: SpaceX
Overall, IFT-13 was a step forward from the rinse-wash-repeat status of the last few Starship / Super Heavy flights. The system still has a long way to go before it can be said to have met even its baseline requirements (launch, deploy, return and capture for re-use), and even longer to go in terms of actually proving it is viable for anything other than Starlink launches. However, subject to the on-going issues with the Raptor 3 motors, SpaceX have indicated the 14th flight might actually be an attempt to reach orbit – possibly with an attempt to catch the orbital vehicle on its return.
Psyche’s Time-Lapse of Mars
On May 15th, 2026 NASA’s Psyche spacecraft swung by Mars, using the planet in a gravity-assist manoeuvre to help propel it on its way to its intended target, the M-type (indicating it has a high metallic content) asteroid 16 Psyche, which it will reach in 2029.
The fly-by marked the mid-point in the spacecraft’s journey, and I covered it and the overall Psyche mission just after it happened. However, earlier in July NASA issued a time-lapse video of the encounter, stitched together from individual images captured by the spacecraft’s imagining system between May 2nd and May 31st.
Approaching from a “high phase” angle relative to the Sun, Psyche initially reveals Mars as a thin crescent, only around 4% of its surface visible. This rapidly grows as the spacecraft sweeps down towards the planet’s northern hemisphere, features somewhat blurred, but with craters and clouds visible before Psyche arcs over the very heavily cratered southern hemisphere, closing to within 4,609 km of the planet’s surface before heading back into space, speeding towards the asteroid belt and 16 Psyche with 1,600 km/h more velocity than when it approached at Mars.
While the fly-by didn’t add much to the masses of data already gathered on Mars, it did serve a second important function for the Psyche mission: by aiming Psyche’s suite of instruments at a well-studied world, mission engineers were able to properly calibrate and validate the spacecraft’s major science instruments ahead of its encounter with 16 Psyche.
Binnancumb Village, July 2026 – click any image for full size
In 2018, I visited Bellefleurs, an Elizabethan-styled grand manor house which at that time occupied a Homestead region (see here for more). As I noted in writing about it, it caught my eye when first seeing in the Destination Guide as it immediately put me in mind of Somerset’s Montacute House, a spectacular Elizabethan Renaissance house now operated by the National Trust.
A lot has happened since then. For one thing, Bellefleurs has relocated and, whilst still occupying a Homestead region, it now adjoins a Full private region, the home to the engaging village of Binnancumb.
Bellefleurs and Binnancumb Village, July 2026
The estate and village are the work of India Canning, a woman clearly from my part of the world, and who has an admirable sense of humour going on her Profile (I particularly like the take on a line of Elizabeth I’s Tilbury Address of either August 9 or August 19 – depending on whether you are using Old Style or New Style calendar references – 1588). Combined, they offer a mix of public and private spaces reproducing the very best of England’s Green and Pleasant Lands.
Spectacular Bellefleurs Great Lodge is the former hunting estate of the Duchesses of Ominum and Demnoncia. This Elizabethan great house offers a curated Renaissance art collection, a Salon Music series, dances, En Garde, and other events.
Bellefleurs description
Bellefleurs, The Great Lodge, July 2026
At the time of my first visit, the grand house – which in part was indeed inspired by Montacute House – was the hereditary seat of the Canning Family and home of the Duchesses of Ominum, and came with a fascinating backstory which marvellously wove the Cannings into the fabric of English history. The region on which the house sat at that time was also home to the House Sakura Companion Guild.
In its current form, the Canning Family seem to have faded into history, and House Sakura appears to be no longer active. This leaves the house under the care and oversight of the Duchesses of Ominum and Demnoncia, as noted in its description above, whose largesse allows us to continues to enjoy and appreciate it.
Bellefleurs, The Great Lodge, July 2026
Nevertheless, none of the historical care put into the house has been lost. Rooms are exquisitely furnished in the manner of such a stately home surviving down the centuries. Fine tapestries hang from panelled walls, each one a reproduction of an actually tapestry from the 15th and 16th centuries, while chandeliers hang from ceilings.
This is very much a museum of art from the Renaissance period, the upper floor of the house particularly rich in carefully scaled and presented pieces, although there are some to be found on the ground floor along hallways and within some rooms.
Bellefleurs and Binnancumb Village, July 2026
Events within the Music Salon are advertised as being held every Sunday at 19:00 SLT, and there are regular En Garde (fencing) activities with the grounds behind the house, where eight pistes (including one for training) can be found.
Also to be found at the rear of the house is a beautifully garden and manicured lawns, with trimmed boxwood hedging providing boundaries to the immediate grounds of the house on either side. Just outside of the eastern most of there, where one of the two roads to Binnancumb Village might be found (the other being at the front of the estate at the landing Point), where steps also lead down to a small cove-like beach.
Binnancumb Village, July 2026
The walk (or ride for those making use of the horse rezzer at the Bellefleurs’ Landing Point – perhaps one might also be put on the western road?) to the village travels first past farmlands. These provide a mix of crops and open grazing for sheep and cattle, the fields neatly marked out by low walls.
Binnancumb village itself is again a perfect representation of England’s heart, buildings of age and independent styling blending together in a community space mixing private residences (very clearly marked to avoid trespass) with public destinations readily accessible to visitors. Chief among the latter is the Abbey of St. Hild (currently under restoration, but available on a limited basis for weddings), the tithe barn just across the road (available on a limited basis for events), and the local pub.
Binnancumb Village, July 2026
The pub, the Lion & Bear is a grand Tudor-style building dating to 1487. It sits at the northern end of the east road up from Bellefleurs, just before it starts to loop around part of the village to meet the west road. On offer at the pub are events, films, dancing, chess and more fencing. A spur road from here leads down to a little port, house to the main rental office.
I generally try not to take direct photos of private residences within regions open to the public so as not to encourage trespass (although sometimes, the layout of a location means they might creep into the background of images). However, there are time when they fit the theme so ideally, they are hard to ignore, so a couple of pictures of the houses in the village do appear here.
Binnancumb Village, July 2026
Bellefleurs and Binnancumb Village are excellently conceived and executed. Neither is intended as a role-play region nor should they be taken as such. They are places to explore and enjoy, the natural beauty of the design highly photogenic.