Sansar via Road to VR: opening “first half” of 2017, monetisation and sundry thoughts

The new Sansar logo (courtesy of Linden Lab)
Sansar. Image courtesy of Linden Lab

In ‘Sansar’ Will Open to All in First Half of 2017 with a New Approach to Virtual Worlds (January 15th, 2017), Ben Lang of Road to VR becomes the latest tech journalist to sit down with Linden Lab to try out and discuss Sansar.  While he covers a lot of what has come to the for in other, similar recent articles, he also provides some further confirmatory / interesting tidbits, some of which allow for a little speculative thinking.

The biggest piece of information is perhaps right up there in the title: Sansar will open in the first half of 2017 (my emphasis). This actually comes as no surprise, as Sansar is a new project, and time frames for new projects of any description tend to slip a little as the work progress. Further, and as I noted in discussing Dean Takahashi’s recent look at Sansar, a degree of slippage appeared to be on the cards when he referred to Sansar opening to the public in “early” 2017, rather than the “Q1 2017” the Lab had previously indicated might be the case.

Ben Lang, Road to VR
Ben Lang, Road to VR

At the top of the article, Lang touches on the aspect of Sansar being focused on “creators” rather than “consumers”.  Again, as I’ve previously mentioned, defining “creator” here is perhaps important.

By and large, “creator” in SL tends  to be used in reference to those who design and make the goods we use to dress our avatars and furnish our land. Outside of lip service, it’s perhaps not a term closely linked with those who obtain land in SL and create environments using the goods they have purchased, rather than building and scripting everything themselves. With Sansar, however, it is pretty clear “creator” is intended to encompass both, and thus perhaps encompasses a broader cross-section of users than might be seen as the case with Second Life.

The focus on “creators” shouldn’t be taken to mean Sansar is “only” for “creatives”. Spaces hosted on the platform will obviously require an audience, be it the public at large or drawn from specific, more niche audiences. It simply means that from a technical standpoint (and most likely outside of the UI), Sansar’s focus is tipped towards those wishing to build environments within it. As an aside to this whole “creator” thing, it’s also worthwhile noting that where previous articles had pointed to around 600 creators being involved in Sansar’s Creator Preview, Lang mentions the number might be around 1,000.

Further into the article, Lang references moving between Sansar spaces, specifically noting “hopping” from one to another via web pages. This is unlikely to be music to the ears of many in SL; however, it’s important to note that this approach is not necessarily the only means to move between experiences.

In the past, Ebbe Altberg has mentioned the potential for “portals” between environments which might be see as “linked” (although it is by no means certain this idea is still be pursued). More particularly, in June 2016, when talking to Mark Piszczor of Occipital about Sansar, he referenced the idea of “teleporting” between Sansar spaces, and more recently we’ve had a glimpse of a Destination Guide style capability in Sansar (apparently called “Atlas”) for moving between different spaces.  So the web page approach might simply be one of several means to get from space to space in Sanar. Time will tell on that.

Inside Sansar. Credit: Linden Lab, via Road to VR
Inside Sansar. Credit: Linden Lab, via Road to VR

When referencing creators being able to monetise their creations, Lang touches on the previously noted ideas of selling virtual goods and creations (up to and including entire experiences) through the Sansar marketplace, and the potential for creators to charge people an entry fee to their experience if they wish. However, beyond this, Lang indicates some of the broader brainstorming going on at the Lab – such as the ability for consumers to pay money to a virtual object which would hold the money and pay it out to its owner at regular intervals.

As Lang points out, this opens the doors to a whole range of potential items – pay-to-play pool tables, vending machines (think broader than the gacha machines we see in SL), rides, etc. So –  and slipping into the realm of pure speculation for a moment – might this allow experiences creators to “rent out” their experiences – say an events venue – to others, and receive a fee each time it is used / instanced anywhere in Sansar, rather than simply selling them for a one-off fee on each copy purchased? The could be an intriguing route to take, if at all possible.

Might Sansar offer the means for experience creators to "rent out" their spaces as a means to monetise them?
Might Sansar offer the means for experience creators to “rent out” their spaces as a means to monetise them? Credit: The O2 Arena

But to come back to Lang’s Road to VR article. He notes that in terms of capabilities, Sansar’s graphics are “actually quite good”, although the physics are lacking. The former is perhaps something of a step down from verdicts passed by other journos, while the latter is promised to be improved in a forthcoming update. He also underlines the “style agnostic” approach to Sansar, which again is a potential differentiator to SL in that creators of experiences in Sansar are likely to have far greater freedom in how they visualise the spaces then build than can be achieved in Second Life.

Overall, ‘Sansar’ Will Open to All in First Half of 2017 with a New Approach to Virtual Worlds, makes for a further interesting read on Sansar, offering some apparent insights that help build the picture of what the world at large might expect once allowed in the platform. Definitely worth a read – as are the comments which follow it.

2017 viewer release summaries: week 2

Updates for the week ending Sunday, January 15th

This summary is 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.

Official LL Viewers

LL Viewer Resources

Third-party Viewers



Mobile / Other Clients

  • Group Tools updated to version on January 12 – no release notes provided
  • Lumiya updated to version 3.3.1 on January 13 – Bluetooth headset support & audio controls (release notes)

Additional TPV Resources

Related Links

Cica’s Burning and poetic musings in Second Life

Cica Ghost: Burning
Cica Ghost: Burning

Burning is the title of Cica Ghost’s latest region-wide build, which opened on Sunday, January 15th. It is a piece which stands in contrast to several of her recent builds in that it is of a darker tone and style. Under a lowering, cloud-heavy sky, lit by a distant sunset, a town burns. The land around it is scorched and aflame, ashen tree trunks, bereft of branches and leaves, point to the heavy sky like gnarled, accusative fingers.

Within the town, the tall buildings are charred, their pain blistered and blackened as flames lick doorways and windows. Some walls carry some of Cica’s usually light and happy stick figures, which here are cast in a new role as poignant reminders that this was once a happier place. A single bridge spans what might be the parched bed of a vanished body of water, offering a way into – or perhaps an escape route out of – the conflagration.

Cica Ghost: Burning
Cica Ghost: Burning

The who, what, how and why of the fire’s origin are not revealed. The burning landscape and buildings are an open page on which we can write our own view of what has occurred. However, with all that is going on in the physical world, coupled with the general presentation of Burning, it tends to cause the name Aleppo to spring to mind. So is Burning perhaps a political commentary?

Possibly. But before we decide or judge, Cica provides a possible clue to interpreting the work. It comes in the form of a quote: time is the fire in which we burn. It’s part of a line from  a 1938 poem by Delmore Schwartz entitled, Calmly We Walk Through This April’s Day (also sometimes called For Rhoda), which is by coincidence, a poem I know quite well. In it, Schwartz records how we go about our daily lives largely unaware of the uncontrollable passage of time and the fact that, with every moment, we are closer to our own deaths and the deaths of those we love. From childhood through adulthood, we are so often caught within the minutiae of our lives that we lose track of all that is really important – or should be; only in our closing years do we realise what has happened – by which time all may lie burnt by time.

Cica Ghost: Burning
Cica Ghost: Burning

So is Cica presenting us with a philosophical piece with Burning? “I didn’t know about the poem,” she told me, “But I came across the line while searching for quotes about fire, and it fitted what I wanted to say.”

The quote in question attributed the line as coming from a character in the movie Star Trek Generations, hence why Cica didn’t make the connection. However, she has perfectly captured the tone and meaning of Schwartz’s poem as a whole, from the melancholy through to the way in which we do hurry through our lives – as exemplified by the visitors Caitlyn and I sat and watched from one of several perches in the installation (hover your mouse around to find them) as they hurried back and forth through the buildings and trees before vanishing.

Cica Ghost: Burning
Cica Ghost: Burning

That Cica has captured all of the nuance within Calmly We Walk…. may have been serendipitous, spinning outward from that one line from the poem, but that doesn’t matter. Serendipity is often the cousin to artistic expression, and the pairing of the installation with the entire poem broadens our understanding and appreciation of Burning. It also perhaps sits with that image of Aleppo which pops into the mind when first arriving. Schwartz wrote his poem shortly before the outbreak of World War 2, a time when towns and cities burned and lives  – and generations – were shattered; thus another layer of poignancy is added to the installation.

SLurl Details

  • Burning (Aggramar, rated:  Moderate)

Space Sunday: looking back on Earth and landing rockets and probes

The Earth and Moon, as seen from orbit over Mars, November 20th 2016
The Earth and Moon, as seen from orbit over Mars, November 20th 2016

Two marbles sit on a midnight background, one a swirl of blue, white, brown and green, the other tinted in shades of grey. Together they are the Earth and her Moon as seen by the most powerful imagining system currently orbiting the planet Mars.

It is, in fact a composite image, although Earth and the Moon are the correct sizes and the correct position / distance relative to one another. The images were captured by the High Resolution Imaging Science Experiment (HiRISE) camera on NASA’s Mars Reconnaissance Orbiter (MRO) on November 26th, 2016.

The images were taken to calibrate HiRISE data, since the reflectance of the moon’s Earth-facing side is well-known. As such, this is not the first image of our home planet and its natural satellite captured from Martian orbit, but it is one of the most striking. Whilst a composite image, only the Moon’s brightness has been altered to enhance its visibility; were it to be shown at the same brightness scale as Earth, it would barely be visible. That it appears to be unnaturally close to Earth is in fact an illusion of perspective: at the time the pictures were taken, the Moon was on the far side of Earth relative to Mars, and about to pass behind it.

The image of Earth shows Australia prominent in the central area of the image, its shape just discernible in this high-resolution image, taken when Mars and the MRO were 205 million kilometres (147 million miles) from Earth.

For me, this is another picture demonstrating just how small, fragile and unique our home world actually is.

 Falcon 9 Makes Triumphant Return to Flight

With Federal Aviation Authority (FAA) approval given, SpaceX, the private space company founded by Elon Musk, made a triumphant return to flight status with its Falcon 9 launch system on Saturday, January 14th.

January 14th, 2017: the SpaceX Falcon 9, carry 10 advanced Iridium Next communications satellites in its bulbous paylod fairing, lifts-off from Space Launch Complex 4E, Vandenberg Air Force Base, California Credit: SpaceX
January 14th, 2017: the SpaceX Falcon 9, carry 10 advanced Iridium NEXT communications satellites in its bulbous payload fairing, lifts-off from Space Launch Complex 4E, Vandenberg Air Force Base, California Credit: SpaceX

SpaceX launches had been suspended in September 2016, after a Falcon 9 and its US $200 million payload were loss in an explosion during what should have been a routine test just two days ahead of the planned launch (see here for more). Towards the end of 2016, and following extensive joint investigations involving NASA and the US Air Force (The Falcon 9 was located at Launch Complex 40 at the Canaveral Air Force Station when the explosion occurred), SpaceX were confident they had traced the root cause for the loss to a failure of process, rather than a structural or other failure within the vehicle itself. However, they had to wait until the FAA had reviewed the investigation findings and approved the Falcon 9’s return to flight readiness before they could resume operations.

The January 14th launch came via the SpaceX West Coast facilities, again leased from the US Air Force, and saw a Falcon 9 booster lift-off from Space Launch Complex 4E at Vandenberg Air Force Base in California. The rocket was carrying the first ten out of at least 70 advanced Iridium NEXT mobile voice and data relay satellites SpaceX will launch over the coming months, as Iridium Communications place a “constellation” of 81 of the satellites in orbit around the Earth in a US $3 billion project.

All ten satellites were successfully lifted to orbit and deployed following a pitch-perfect launch, which had to take place at precisely 9:54:34 local time (17:54:34 UT) in order for all ten satellites to be correctly deployed to reach their assigned orbits. However, all eyes were on the Falcon 9’s first stage, which was set to make a return to Earth for an at-sea landing aboard one of the company’s two autonomous drone landing barges, Just Follow The Instructions.

Down and safe: the Falcon 9 first stage, seen via a camera aboard the autonomous drone barge Just Follow The Instructions, shortly after touch-down on January 14th, 2017. Credit: SpaceX
Down and safe: the Falcon 9 first stage, seen via a camera aboard the autonomous drone barge Just Follow The Instructions, shortly after touch-down on January 14th, 2017. Credit: SpaceX

Operating the Falcon 9 on a basis of reusability is core to SpaceX’s future plans to reduce the overall cost of space launches. While the company has previously made six successful returns and landings with the Falcon 9 first stage, this being the first attempt since September 2016’s loss added further pressure on the attempt. but in the event, it went flawlessly.

After separation from the upper stage carrying the payload to orbit, the first stage of the Falcon 9 completed what are called “burn back” manoeuvres designed to drop it back into the denser atmosphere. Vanes on the rocket’s side were deployed to provide it with stability so that it dropped vertically back down to Earth, using its engines as a braking system and deploying landing legs shortly before touchdown – and the entire journey was captured on video, courtesy of camera built-into the rocket’s fuselage.

Continue reading “Space Sunday: looking back on Earth and landing rockets and probes”