A return to an Infinite Darkness in Second Life

Infinite Darkness, September 2026 – click any image for full size

In June 2024, Gian (GiaArt Clip – of Monkey Island and Buddha Garden fame (you can read about all his work in these pages) – invited me to visit Infinite Darkness, an utterly atmospheric build right in image, metaphor and reference.

At the time, my visit resulted in a rather lengthy piece on the build, in part because – as regulars to the pages (if they still come by…) know – I am particularly taken by locations in Second Life with have a depth of narrative to them and so tend to bang on a bit, but also because Infinite Darkness is genuinely captivating and rich in its imagery.

Infinite Darkness, September 2026

This past weekend (at the time of writing) I received a note from Gian, inviting me to pay a further visit to the region:

I’d like to show you this new area of ​​Infinite Darkness, in case it interests you for the blog: I built this cathedral (both the façade and the interior, more than a week to build) and set it right into the rock face of Infinite Darkness. …I also redid the entire Windlight setup, ranging from the lighter night cycle to the deepest night

– A part of Gian’s invitation for me to revisit Infinite Darkness

Infinite Darkness, September 2026

At its core, Infinite Darkness is a walk between the forces of good and evil and light and dark and into the realm of the Gothic-vampiric. As such, the setting comprises a number of locations, both at the ground level and up in the sky.

It is the ground level where those making a first visit should initially explore, starting from the Landing Point chapel. And then cross the bridge. Do take time to note the theme’s symbolism here (and throughout): the fact you “rise from the death” on arrival; the angel and the skull within the chapel, the statues (including Geefs’ Le génie du mal along the bridge). However, as I’ve already written at length on the overall design as noted above, I’ll just offer a very brief summary here before moving to the new element of the setting.

Infinite Darkness, September 2026

Each of the four islands at ground level continue the core themes through different perspectives and intertwined narratives (including the general layout of the region mirroring that of a cathedral, as I noted in my 2024 piece). The two small islands to the north and south perhaps most clearly carry symbols of religious “good” and “evil”. Do make sure to climb the two central islands before you head down, to first reach the house straddling its peak (and again, note the artwork on the walls and the statues), and from there take the bridge to the Gothic Castle where the mantle of vampirism lies heavy.

Throughout your explorations, do keep your eyes on the art and statues; nothing here is entirely coincidental. As noted, Geefs’ Le génie du mal  resides close to the Landing Point, adding a touch to the core narrative. Elsewhere it is possible to find Michelangelo’s Pietà from Saint Peter’s Basilica, Alexandre Cabanel’s rage-filled Fallen Angel and even a modified version of da Vinci’s Mona Lisa adding her story to the narrative – to mention but three more obvious pieces.

Infinite Darkness, September 2026

The new cathedral lies at the foot of the castle-bearing island, and can be reached on foot by descending around the left of the lower, house-bearing isle. Hewn from the rocks of the island, it is eerily lit by blue flames held by sconces and tall statues, exuding a sense of darkness as much as religious “light” – both literally and figuratively. Gregorian chanting can be heard echoing off the walls against the moaning of the wind whilst the altar stands wreathed in fog, a guarded pit behind it.

Red-lit archways to either side of and behind the altar join the original catacombs. Enter these and you’ll come first to a pair of flame-holding angels, one pointing left and the other to the right. To the left, the path leads by way of a small subterranean lake to where the Dark Master of Death awaits in his crypt to carry people away to hell (I actually managed to miss this entire part of the build back during my first visit in 2024. It is more clearly marked now, and I’ll leave you to discover it and what awaits beyond!).

Infinite Darkness, September 2026

To the right the path leads to another new element of the build: a passage through and up (via ladder) to a further crypt, this carrying clear references to the Knights Templar – note the chalice  (Grail) on the stone altar facing the Templar’s cross and the motto Deus Vult (“God Wills It”).

Follow that path from the chamber below the Templar crypt and you’ll reach a further gateway – with a polite warning to turn back and follow the dark route passing via the Dark Master of Death, as mentioned above.

Infinite Darkness, September 2026

Gian is, until October 31, 2026 (appropriately!) running a photographic contest featuring Infinite Darkness. It carries a prize pool of L$10,000. See the Flickr announcement for details and rules.

Deeply immersive, rich in symbolism and narrative, Infinite Darkness remains an fascinating, highly atmospheric visit.

Infinite Darkness, September 2026

Slurl Details and Links

Infinite Darkness is rated Moderate

2026 week #38: SUG meeting summary

The Simulator User Group meeting place at Longfellow

The following notes were taken from the Tuesday, September 15, 2026 Simulator User Group (SUG) meeting. These notes form a summary of the items discussed, and are not intended to be a full transcript. A video of the meeting by Pantera is embedded at the end of this summary – my thanks to her for providing it.

Meeting Overview

  • The Simulator User Group (also referred to by its older name of Server User Group) exists to provide an opportunity for discussion about simulator technology, bugs, and feature ideas is held every other Tuesday at 12:00 noon, SLT (holidays, etc., allowing), per the Second Life Public Calendar.
  • The “Leviathan Office Hour” meetings are held on the Tuesdays which do not have a formal SUG meeting, and are chaired by Leviathan Linden. They are more brainstorming / general discussion sessions.
  • Meetings are held in text in-world, at this location.

Simulator Deployments

  • The Nectarine update is due to be deployed to the BlueSteel RC channel on Wednesday, September 16, 2026 providing it encounters no issues during it time with QA.
    • This  will include the server-side support for game_control, but may not have full LSL support, due to last-minute bugs.
  • The next update after that is codenamed Olive – details still TBD.

General Updates

  • Rider Linden is working on the last of the known bugs with the latest version of the VSCode plugin.
  • Leviathan Linden (via proxy in the form of Rider Linden) indicated there is a new test version of the game_control viewer (note this link will have a limited lifespan, pending the next update).
    • A request was made for game_control to include separate Flycam input for gamepads/controllers around axis control. A request was made for this to be formally filed via Canny to ensure it gets responded to.
    • This led to a general discussion on camera control (or lack thereof, depending on your point-of-view!), with the acknowledgement that “post game_control” scripted support for camera movement will need to be expanded.
  • Harold Linden (Lua) is working through a major refactor to hopefully ensure that following the upcoming update (which will break existing Lua scripts, requiring they be recompiling / resetting), there will be no further breakages with future deployments.
    • This led to a general discussion on Lua support interwoven with the discussion of game_control / controller / joystick, etc., support.
    • Kyle Linden noted there will be a new Lua portal on the SL Wiki “soon”.

General Discussion

Please refer to the video for details on the following:

  • A call for feature requests led to two region traffic-related requests which amounted to much the same thing: a new traffic metric that didn’t reward accounts standing in place 24 hours a day / only counts avatars that move. Together with a suggestion that “traffic” as a metric is done away with in favour of an “engagement” metric.
    • Another request was for a specific Group role for posting links to Group chats (as a further means of defeating phishing spams). Rider indicated there were “a few things coming” with regards to link posting, but did not have the details to hand.
    • The above led to a lengthy debate among users at the meeting on how to handle / mange links and the ability to post them in Group chats.
  • A general discussion of region / simulator restarts – particularly with regards to LL not running them during geographic peak hours of use (i.e. the Tuesday / Wednesday restarts run during the peak used of SL in Japan).
    • Monty Linden reminded people that the restarts are simhost server-based, not purely the simulators / regions running on it, and are required to also restart all underpinning services as well.
  • Inventory and storing items / use of inventory links and outfits manage also came up for user-led discussion / debate.
  • llStartObjectAnimation() & llStopObjectAnimation() no longer works on Animesh characters has been raised and is under active investigation.
  • Further confusion between water exclusion surfaces (which hide Linden Water when viewed from above, and water exclusion volumes, which would (if they existed) hide all Linden Water and its properties when seen from above and under water.

Date of Next Meetings

  • Leviathan Linden: Tuesday, September 22, 2026.
  • Formal SUG meeting: Tuesday, September 29, 2026.

STAY in Second Life

Kondor Art Centre: Selen Minotaur – STAY

STAY is the title of an immersive exhibition by Selen Minotaur, currently open at the Kondor Art Centre, curated and operated by Hermes Kondor.

A multi-part, interactive installation, STAY is described as a journey that unfolds through spaces, images, and presences that evoke solitude, memory, and reconstruction – the overall theme  examining what remains after a fall, an inner upheaval.

Kondor Art Centre: Selen Minotaur – STAY

Exactly what form this upheaval has taken is up to us to discern, shaped by our own experiences / attitudes / outlooks at the time of a visit, together with our responses to the installation itself. As such, I’m not going to offer my subjective conjectures lest they colour your own perceptions in visiting.

The important aspects when visiting the installation are that you preferably use a PBR-enabled viewer, accept the Shared Experience, and add the STAY companion HUD when offered and ADD. You’ll then have to accept the SL Experience as offered by the HUD and make sure media and sound are enabled. If, for any reason, the HUD is not offered, there is a small icon mounted on the wall close to the landing point which will deliver it when touched.

Kondor Art Centre: Selen Minotaur – STAY

Once the above are all set, progress through the various rooms of the installation is by means of seeking – and passing through – the white lights. This might itself be somewhat symbolic, perhaps, particularly given the nature of the first room to be visited – but again, I’ll step aside from adding my own conjectures here.

A further point to make here is that STAY is an installation to be taken at a leisurely pace, the name itself offering a dual meaning. The first is related to the theme of the installation:  that which remains – which stays with us after a personal upheaval. The second is a more traditional meaning of the word: to tarry, and spend time.

Kondor Art Centre: Selen Minotaur – STAY

The latter is important, as this is – as noted – an immersive experience; one which only unfolds if one gives it the opportunity to do so. This definitely requires pausing in all of the rooms and taking the offered seats within those offering them in order to trigger the room’s visual contents. The latter should then be considered – and note, images may not only appear on the wall in the direction in which you are facing).

A very small note here is that the first of these interactive elements is a video presented through You Tube. Sadly – and due to You Tube itself, this video cannot auto-play (and in fact may not run at all in-world). As such following the dialogue box to view the video via browser is necessary.

Kondor Art Centre: Selen Minotaur – STAY

In all there are eight rooms to visit, including a “double room” connected via walkway rather than white teleport, plus the final room in which visitors are reminded over a further use of the words “stay”. Richly visual, STAY is an engaging installation with quite a lot to set with those with the – so to speak – eyes to hear the unfolding story.

SLurl Details

  • STAY, the Kondor Art Centre (Royal Tea, rated Adult)

2026 SL viewer release summaries week #37

Logos representative only and should not be seen as an endorsement / preference / recommendation

Updates from the week through to Sunday, September 13, 2026

This summary is generally published every Monday, and is a list of SL viewer / client releases (official and TPV) made during the previous week. When reading it, please note:

  • It is based on my Current Viewer Releases Page, a list of all Second Life viewers and clients that are in popular use (and of which I am aware), and which are recognised as adhering to the TPV Policy.
  • This page includes comprehensive links to download pages, blog notes, release notes, etc., as well as links to any / all reviews of specific viewers / clients made within this blog.
  • By its nature, this summary presented here will always be in arrears, please refer to the Current Viewer Release Page for more up-to-date information.
  • Outside of the Official viewer, and as a rule, alpha / beta / nightly or release candidate viewer builds are not included; although on occasions, exceptions might be made.

Official LL Viewers

  • Default viewer  26.3 – 26.3.0.31203661088, August 10, promoted August 17 – quality of life improvements; performance improvements; bug fixes – No Change.
  • Default viewer  26.3 – 26.3.0.31203661088, August 10, promoted August 17 – quality of life improvements; performance improvements; bug fixes – No Change.
  • Second Life Lua Editor RC / Beta viewer with Linux support 26.4.0.34502396632, September 11 – NEW.
    • Lua scripting support (on regions with Lua scripting enabled).
    • Improved communication between the Viewer and the newly published Second Life VS Code extension.
    • Offers an experimental Linux viewer build.
    • Includes the latest WebRTC Voice and viewer-maintenance updates.
  • Second Life Chat Modernization viewer 26.3.0.33643480083, September 4 – No Change.
    • Recent conversations follow you seamlessly: a direct message you receive on SL Mobile can also be available when you return to desktop, and vice versa; Recent direct message history will be available on logging-in; existing desktop chat logs are preserved – previously saved local history isn’t being replaced or removed; conversation history feels continuous: on desktop, your existing local history and newer message history are brought together into a single conversation.

LL Viewer Resources

Third-party Viewers

V7-style

  • Kirstens Viewer S24 DX Pre-Alpha 04 – September 11 – release notes.
  • Megaphit viewer version – 26.4.0.564544 – September 10 – changelog.

V1-style

  • Cool VL viewer Stable: 1.32.4.47; Experimental 1.32.5.17:  September 12 – release notes.

Mobile / Other Clients

  • No updates.

Additional TPV Resources

Related Links

An Autumn Trace and Heron’s Nest in Second Life

Autumn Trace, September 2026 – click any image for full size

Not too long ago, I wrote about the tendency for SL explorer-writers to perhaps focus on writing about those regions which are new to SL or which demonstrate seasonal or other changes in their look and overall design, perhaps at the expense of those which offer a sense of constancy in Second Life.

The example I used in that article was Lost Lagoon. Another such location – well, to a large degree at least – is Autumn Trace (or as it was originally called, Fall Trace), one of Elvira Kytori’s mixed-purpose region designs offered under the White Dunes estate banner.

Autumn Trace, September 2026

It’s a place I’ve not visited since 2019, and even then, it hadn’t changed that much from my visit in 2016. This is largely true of my most recent visit in September 2026; the region remains much as it has always been: a captivating wetland region largely open to public wandering (and boating) and with some scattered (and clearly denoted) private residences.

The wildlife rich wetlands of the Autumn Trace come alive as the sun break through the mists of the morning. Immerse yourself in this romantic and heartfelt destination.  

– Autumn Trace About Land description

Autumn Trace, September 2026

This is a setting worthy of photography; one rich in ambience, sounds, wildlife and quiet corners and unexpected surprises. Getting around is mostly a case of following the wooden boardwalks as they march out over the waters and reeds, perhaps resting at the various seating areas some offer along the way.

These boardwalks allow the central area of the region – which includes the Land Point – to be explored with ease. However, there are two further parts of the land open to the public which lay separated from the landing Point by water (although one has its own LP, which I’ll come to).

Autumn Trace – Heron’s Rest, September 2026

Both of these latter areas can be reached via boat rezzer, this being available at the end of the boardwalk pointing right as you leave the Landing Point – sit in the boat to obtain oars. The first of these other areas lies to the south and includes a further a boardwalk mainly serving two further private homes (although the boardwalk itself is public access).

The second sits to the north-west and at first might appear to also be a private house. But appearances can be deceptive.

The Heron’s Rest Coffeehouse, Autumn Trace, September 2026
This is because whilst it may have once been a residence, the current occupant, SL photographer Carla Zeiss (Carla Amiot, exhibiting a nice play on names with her Display Name!) has turned it into The Heron’s Rest Coffeehouse, a completely charming – if a little quirky – coffeehouse which is part of the ever-increasing co-working network of cafes and coffeehouses.

Sitting on sturdy wooden piles above the waters of the wetlands, Heron’s Rest is aptly named, given much of the wading birds to be found within the region, along with waterfowl. It offers both shaded veranda seating as well as indoor space. I refer to it as quirky as the indoor seating area opens directly into Carla’s bedroom space! I was also a little unsure of the potted plant sitting in the backgammon board – but that’s probably because I’m a keen backgammon player!

The Heron’s Rest Coffeehouse, Autumn Trace, September 2026

It also appears to be a very much a self-service establishment: baguettes and cold meats, etc., are available on the front veranda for people to make their own sandwiches whilst a large espresso machine (looking as if it would be equally at home powering a steampunk airship!) sits alongside.

The seating on the front veranda is particularly comfortable and offers fine views across the region, marking it as a prime spot to pass the time with friends.

The Heron’s Rest Coffeehouse, Autumn Trace, September 2026

Whilst the rowing boats offer the means to move back and forth between the different parts of the setting, they also allow for waterborne explorations as well. The southern side of the region offers open waters which are home to geese and ducks and heron, whilst to the north they are move given over to reeds and tall grasses but are equally navigable and contain more wading birds and waterfowl.

The default EEP setting is suggestive of a heavy later autumn evening which can perhaps feel a little oppressive, but can make for dramatic photography. I’ve largely used it in the images herein, but admittedly have lightened their overall tone somewhat.

Autumn Trace, September 2026

However, the region really does lend itself exceptionally well to most EEP day settings, so if the Shared Environment isn’t to your liking, just try some of your own; you’re guaranteed to find one which works with the region’s design.

Autumn Trace has always been an attractive setting; and while I’ve obviously no idea how long it will remain, Heron’s Rest has simply added to its charm.

Autumn Trace, September 2026

Slurl Details

Tranquil Bay is rated Moderate

Space Sunday: the Moon, protests and videos from space

The near and far sides of the Moon

How long does it take a planet to form – millions of years? Well, how about a moon – about the same? What if I told you the core of our Moon may have been formed in less than 6 hours? It sounds unlikely, but the idea was first proposed in 2022, and it has now got a degree of further backing.

To explain: the current broad theory is that the Moon was formed fairly shortly after Earth – around 100-150 million years after -, some 4.5 billion years ago as a result of a collision between proto-Earth and a body scientists call “Theia”, thought to be the size of Mars. The theory is that whilst Earth was dealt a glancing blow, Theia was utterly ripped apart due to a mix of the impact and Earth’s gravitational influence, resulting in a debris cloud which orbited the Earth and gradually – over further millions of years – accreted to form the Moon.

However, such a theory doesn’t account for why rocks returned to Earth by Apollo are, in isotopic terms, very similar to those of Earth’s mantle that they might well have formed here. Whilst some debris from Earth might have been cast off in a collision with Theia, by rights the lunar rocks should carry isotopic signatures largely different to those of Earth’s mantle.

In 2022, NASA funded research at Durham University’s Institute for Computational Cosmology in the UK to try to model how such a collision between proto-Earth and Theia might have resulted in the Mon’s formation. The several hundred simulations run by the ICC suggested that whilst the collision between Earth and Theia most likely gave rise to the Moon, it likely took place a lot sooner after proto-Earth had formed: around 60 million years after, rather then between 100-150 million years after.

A rendering of Theia colliding – and largely being absorbed by – Earth, and the fast-moving cloud of molten debris sent into orbit around proto-Earth, rapidly giving rise to the formation of the Moon’s core. Credit: Dr. Jacob Kegerreis

Such a time period would mean that both bodies would be much hotter than in the 100-150 million year period for the collision, and this would result in two things: much of Theia would likely remain intact and sink to Earth’s molten core and considerably more of Earth’s molten mantle would be “splashed” into the space along with the rest of Theia.

Most interestingly, the ICC study suggested that contrary to common thinking, the debris cloud would have sufficient enough velocity imparted to it that it would start out dense enough and rotating about itself fast enough to coalesce extremely rapidly and without being ripped apart by Earth’s gravity. And by rapidly, the ICC suggested the core of the Moon could have formed within a day of the collision – if not in hours.

Now the Southwest Research Institute (SwRI) and the University of Arizona – two of the most globally-respected space research institutes – have published a study which, whilst acknowledging some of their modelling accounts for the Moon forming over a much more extended period of at least hundreds of thousands of years, very strongly supports the ICC’s simulations for a very rapid formation of the lunar core – potentially in as little of 5 or 6 hours after Theia’s destruction.

There is just one slight wrinkle with both the SwRI and ICC studies however: while both allow for material from Earth to form a proportion of the Moon’s make-up, they don’t explain why lunar surface rocks – even allowing for early volcanism on the Moon throwing up material from deep within it which might have originated from that collision debris cloud – are so very similar to Earth’s mantle rocks. As such, there is still more to learn about how the Moon as we know it today came to be. But the idea that its core came into existence in mere hours is intriguing.

Rocket Lab Launches GAO Protest

Earlier in September, NASA awarded a US $700 million contract to Blue Origin to build the Mars Telecommunication Network (MTN) – which despite having “network” in the name, is in fact a single satellite. The spacecraft is intended to be NASA’s next generation communications relay between missions operating on and around Mars and Earth.

Blue Origin had submitted a proposal for MTN in competition with New Zealand / US Rocket Lab – and the latter has now lodged a formal protest with the US Government Accountability Office (GAO) over how the contract was awarded.

An artist’s concept of the Mars Telecommunications Network satellite. Credit: NASA

On the surface, there is much that is puzzling about the decision to go with Blue Origin:

  • Blue Origin has never actually built a satellite; Rocket Lab not only builds satellites for customers, it currently has two satellites en-route to Mars forming the NASA Escapade mission.
  • Blue Origin has no experience with communications satellites other than launching them. Rocket Lab has built (and initially operated on behalf of clients) no fewer than eight communications satellites to date.
  • Rocket Lab has a reputation for delivering satellites on-budget and on time. Blue Origin has no such reputation.
  • Rocket Lab proposed developing, building and delivering MTN by 2028; Blue Origin is targeting 2030.
  • Blue Origin proposes using their Blue Ring orbital vehicle as the MTN satellite “bus” (providing power, propulsion, etc.), although this has yet to fly beyond a demonstrator version. Rocket Lab already has a proven satellite bus in the form of Photon with, at the time of writing, three successful operational missions under its belt in addition to demonstrator flights.

The only significant advantage Blue Origin had going into the bid process was their New Glenn booster which, despite the NG-4 mishap, has successfully flown 3 times and is fully capable of delivering MTN to Mars. Rocket Lab would have to rely on their upcoming Neutron rocket, which has yet to fly.

The twin Escapade spacecraft, Blue and Gold, currently en-route to Mars were built by Rocket Lab, demonstrating the companiy’s ability to design and build low-cost, deep-space satellites – although, and ironically given the current situation, they were launched by a Blue Origin New Glenn rocket. Credit: Rocket Lab

In protesting the NASA decision to go with Blue Origin, Rocket Lab cites inconsistencies with the eligibility criteria for bids, as mandated by Congress in providing NASA with the MTN budget. However, the company has, understandably, refused to air what these inconsistencies might be in the court of public opinion.

For Blue Origin, this is very much a case of the shoe being on the other foot. In 2021, the company filed a protest with (initially) the GAO and then later in federal court, over NASA’s decision to both allow SpaceX form a late entry bid for the agency’s lunar Human Landing System (HLS) vehicle, before awarding the contract to SpaceX whilst denying a second HLS contact as agreed (a decision later reversed by Congress). Blue Origin ultimately lost both the GAO protest and the court case.

Whether Rocket Lab will go so far as federal court should GAO refuse to take action on the contract award remains to be seen. But contrary to social media sentiment against Rocket Lab, as noted above, the company does have some good standing on which to protest the decision.

Video Updates

Roman Grace Telescope

As the Nancy Grace Roman Space Telescope (or more simply, the Roman Space Telescope or RST) continues towards its rendezvous with a halo orbit around the Sun-Earth L2 position, let’s take time to look at the two primary instruments on the observatory and how they work by means of two short videos from NASA published a few years ago.

In the first, the CGI – or Coronagraph Instrument – and its ability to reveal the light of distant exoplanets to us is explored. In short, this instrument will enable scientists will be able to see the visible light reflected by planets that are older, colder, and in closer orbits than the hot, young super-Jupiters we’ve thus far been able to detect. CGI will conduct a series of pre-planned observations for a total of three months spread across the mission’s first year-and-a-half of operations.

The Wide Field Instrument (WFI) will enable RST to capture images of deep space around 100 times larger than those captured by the Advanced Camera on the Hubble Space Telescope. The WFI uses a total of 18 4K sensors and a short focal length for its images, and will be able to image and catalogue 50 times as much sky in its 5-year primary mission as Hubble covered in its first 30 years of operation. RST will thus carry out a complete sky survey 1,000 times faster than Hubble but with the same sensitivity and infrared resolution.

BepiColumbo: 8 Years in Under 5 Minutes

In my previous Space Sunday article, I wrote about BepiColombo, the joint European Space Agency (ESA) / Japan Aerospace Exploration Agency (JAXA) mission to Mercury, which is now – after eight years, nine billion kilometres and nine planetary fly-bys – soon to enter orbit around Mercury.

A couple of days after that article, ESA released a short video compressing the journey down to less than 5 minutes. The film has been made from images captured by the 3 monitoring cameras (M-Cams) mounted on the Mercury Transfer Module (MTM) used to provide propulsions and power to the spacecraft throughout its journey, and which – as I reported – has now been successfully jettisoned, its job done.

The 3 M-Cams were designed to monitor elements of the Mercury Planetary Orbiter (MPO), the main science vehicle being transported to Mercury by MTM. As such, they have fixed fields of view, reflected in the video below. Within it, and on the left are images from M-Cam 1, monitoring the solar array; in the centre are images from M-Cam 2, monitoring the instrument booms, and on the right, M-Cam 3, monitoring the MPO’s high-gain communications antenna.

Whilst fixed in position, all three cameras also caught sight of Earth, Venus and Mercury during the mission’s fly-bys, and the video present all nine in the following order:

  • 0:38: Earth fly-by, April 10, 2020; visible as a white crescent on M-Cam 3 (right side images) as the spacecraft passed around the night side of the planet.
  • 1:11: 1st Venus fly-by, October 15, 2020; initially visible as a small disk on M-Cam 3, then moving to larger disk on M-Cam 2 (centre).
  • 1:24: 2nd Venus fly-by, August 10, 2021; briefly visible on M-Cam 1 (left) before filling M-Cam 2’s field of view and then “looping” (due to vehicle reorienting itself) and diminishing in M-Cam 3’s view.
  • 1:32: 1st Mercury fly-by, October 1, 2021; visible in M-Cam 2 and then M-Cam 3.
  • 1:48: 2nd Mercury fly-by, June 23, 2022; predominantly visible on M-Cam 2.
  • 2:15: 3rd Mercury fly-by June 19, 2023; initially visible on M-Cam 1 during the approach phase, then on M-Cam 3 as the spacecraft departs.
  • 2:41: 4th Mercury fly-by, September 4, 2024; near-continuous view of departure, M-Cam2 and M-Cam 3.
  • 2:55 and 2:58: 5th Mercury fly-by, December 1, 2024; initially and briefly visible across the bottom of M-Cam 2 during approach, then briefly visible on M-Cam 2 and 3 at long-range during departure.
  • 3:02: 6th Mercury fly-by, January 8, 2025; initially visible moving across M-Cam 1 and M-Cam 2 at a distance, then more closely in both cameras with overlapping images.

Note that the MTM camera did not have shutter, so there are occasions when white streaks appear on some images (notably M-Cam 3). Also not the changing levels of light on things like the solar array and instrument booms is the result of the spacecraft’s changing orientation relative to the Sun, while the high gain communications antenna can clearly be seen in motion on M-Cam 3’s images as it maintains a fix on Earth whilst the spacecraft periodically re-orients itself for things like engine burns and cooling.