Space Sunday: Mars,the Moon and space hotels

It has been some time since my last Mars Science Laboratory (MSL) rover report, so it’s time to play catch up with Curiosity, and take a look at what is happening with Opportunity.

For the last 16 months, Curiosity been engaged is studying “Vera Rubin Ridge”. Originally seen as a measn for the rover to traverse from one area of interest on “Mount Sharp” to another, the ridge became a point of interest itself when the rover imaged a rock formation that could fill a gap in the science team’s knowledge about the mound’s formation.

At the time the rock formation was noticed, engineers had been in the process of trying to overcome a issue with the rover’s drill that had prevented its use for several months. A potential work-around had been tested on Earth, so investigation of the rock formation offered the opportunity to test the updated drilling approach. Curiosity was therefore ordered to reverse course in the hope the tests would be successful and a sample of the rock could be gathered.

While successful, this was actually complicated – the issue with the drill feed mechanism also meant that the usual means of sorting samples post extraction had to be abandoned in favour of a new approach. However, the initial success meant Curiosity could resume drill-based sample gathering and analysis, marking the start of period of exploration around the ridge area – albeit it one interrupted by the 2018 global dust storm. In December 2018, this work concluded with the rover collecting its 19th overall sample on Mars, at a location on the ridge called “Rock Hall”.

Since then, the rover has been completing its work on the ridge, which included taking a “selfie” on January 15th, comprising 57 individual images taken with the Mars Hand Lens Imager (MAHLI) camera on the end of its robotic arm. At the ed of January, Curiosity said farewell to “Vera Rubin Ridge”, resuming its traverse southward towards the “clay bearing unit” it was originally heading to when it stopped at the ridge in September 2017.

The January 2019 “selfie” taken by Curiosity Sol 2291 at the “Rock Hall” drill site, located on “Vera Rubin Ridge”. Note parts of the robot arm have been removed from the completed image due to the fact it would appear in multiple locations in the completed image. Credit: NASA/JPL / MSSS.

At the same time, the science team for the rover released a paper revealing a new mystery about “Mount Sharp” and showing how instruments aboard the rover were re-purposed to allow it to be made.

As I’ve previously reported, previous studies of “Mount Sharp”- more correctly called Aeolis Mons, the 5 km (3 mi) high mound at the centre of the crater – suggested it was formed over two billions years, the result of repeated flooding of the crater laying down bands of sedimentary deposits, some of which were blown away by wind action, others of which settled. Over the millennia, these layers were sculpted by wind action within the crater, until only the central mound was left.

However, this type of water-induced layering should have resulted in the lower slopes of Mount Sharp being heavily compressed; but measurements of the local gravity environment of the terrain Curiosity has been driving over in its ascent up “Mount Sharp”, indicate the layers of the lower slopes are less dense than thought, meaning it is relatively porous. This indicates they were not buried under successive layers as had been thought, and thus some other process must have given rise to the mound.

The measurements were obtained by re-purposing the accelerometers Curiosity uses as a part of its driving / navigation system. Normally, these are used to determine its location and the direction it is facing with enormous precision. But, through a subtle piece of reprogramming, engineers were able to turn them into a gravimeter, allowing Curiosity to measure local gravity every time it stopped driving, and with massively greater precision than can be achieved from orbit.

An image captured by NASA’s Mars Reconnaissance Orbiter (MRO) overlaid with part of Curiosity’s path, including the Bagnold dunes in Gale Crater and up the slopes of Mount Sharp via the Murray Formation. Credit: NASA/JPL

Given the results tend to dispel the idea that water action was primarily responsible for filling the crater with sediments subsequently added to and shaped by wind action, it’s been proposed that “Mount Sharp” has been formed almost entirely as a result of Aeolian (wind-driven) sedimentation. This would leave the layers forming the mound a lot less dense in comparison to layers laid down and built up as a result of water action and settling.

However, this doesn’t entirely explain why the mount was formed, and further study is required before it can be said with certainty that wind played the core part in building and sculpting “Mount Sharp”. In the meantime, the re-purposing of Curiosity’s accelerometers is another example of the flexibility found within NASA’s robot explorers, as Ashwin Vasavada, Curiosity’s project scientist, noted in response to the new information.

There are still many questions about how Mount Sharp developed, but this paper adds an important piece to the puzzle. I’m thrilled that creative scientists and engineers are still finding innovative ways to make new scientific discoveries with the rover.

– Ashwin Vasavada, Curiosity’s project scientist.

New Plan to Contact Opportunity

It is now seven months since communications with NASA’s other operational Mars rover, Opportunity, was lost as a result of the planet girdling dust storm that ran from late May until around the end of July 2018, and which forced the rover to go into a power saving safe mode as there were insufficient sunlight for its solar cells to recharge its batteries.

In late August, ith the skies over Opportunity clearing of dust, NASA initiated an attempt to nudge “Oppy” into trying to resume contact with mission control using what is called the “sweep and beep” method. This involved sending a series of wake up commands throughout the day, then listening for the “beep” signal that would indicated “Oppy” had received the signal and was once again awaiting commands, allowing attempts at recovery to commence.  Unfortunately, this has not been the case.

NASA’s MER rover Opportunity (MER-B) arrived on Mars in January 2004. Contact was lost in June 2018 as a result of a major dust storm on the planet. Since August 2018, attempts to re-establish communications with the rover have been unsuccessful. Credit: NASA/JPL

Originally, it had been intended that if no response was received in  45-day period, NASA would switch to a purely passive means of listening out for “Oppy” in the hope the rover might send a message. But on January 25th, 2019, the space agency indicated they would be taking a different tack.

The new approach means that the “sweep and beep” approach will be continued, but slightly differently. In order to account for the possibility that Opportunity has both and off-kilter clock and both of its primary X-band communications systems, the outward commands designed to nudge a simple “beep” response from the rover will be replace by a command for it to switch away from using its primary communications system(s) to it secondary, the hope being that it would allow the rover to respond, and enable a more detail assessment of Opportunity’s condition to be made.

This effort is expected to continue for “several weeks” before NASA will again reassess the likelihood of re-establishing contact with the rover. However, a new threat is in the offing for Opportunity as winter starts to settle in the hemisphere where it is operating; if its solar panels are not working efficiently, the exceptionally low winter temperatures could damage it beyond recovery.

Continue reading “Space Sunday: Mars,the Moon and space hotels”

Voir: art and environments combined in Second Life

Voir Gallery: Wild Weed – Calypso Applewhyte

One of the more unusual gallery spaces to be found in Second Life is that of the Voir Gallery complex, created and operated / curated by Frenchy25, and home to both his art and that of his SL partner, Caly Applewhyte (Calypso Applewhyte), as well as featuring exhibitions by other artists.

Quite where to begin a visit is a little difficult in a quarter region space that boasts some eight gallery areas, each one uniquely defined. This being the case, I’ve arbitrarily selected The Canyon top, an outdoor area to one side of the parcel, offering foot access to the majority of the exhibition areas.

The Voir Gallery and exhibition spaces

From here it is possible to walk along the broken landscape of Merdopolis, passing a tribute to the art of Donald Judd in Marfa, Texas along the way, to where a decrepit road bridge spans a narrow gorge. Cross this, and it will  lead you to down a ramp and along a street to The Garage (currently without an exhibition), or by way of metal stairways, either back along the canyon’s side to a tunnel-like exhibition space, or up to the Voir Gallery proper (of which the aforementioned garage forms the lowest level).

The Voir Gallery and the tunnel below and alongside of it both currently house Frenchy 25’s vividly evocative imagery; beautifully post-processed avatar studies and landscape scenes. In addition, and just outside the main entrance to the Voir, are steps down to The Underground, currently displaying more of Frenchy25’s art.

Voir Gallery: Frenchy25

If you prefer, there are two other routes to be taken from the Canyon top landing point. The first is down the wooden steps tto the floor of the canyon itself, and thence by way of a small street scene to the Wild Weed. This is a wonderfully steampunk themed exhibition space (take the stone steps down through the clouds of the “sky”), home to a recently opened and engaging exhibition of images by both Frenchy25 and Caly.

Alternatively, if you take the route along the Canyon top from landing point to the broken road bridge, but turn right, rather than stepping onto the bridge, you can make your way up to an outdoor seating area warmed by a brazier, and then down a fenced road to where a shuttle pod awaits (note that a similar pod is also available in the Wild Weed steampunk area). Climb into the pod, and it will carry you further aloft to the SS25 facility high in Earth orbit, offering both another place to explore and the opportunity to appreciate more of Caly’s and Frenchy25’s art, as well as pieces by 3D artists. A shuttle pod on the outer edge of the station will also return you to the launch platform above Topaz Square – or if you prefer, a teleport disk system links the two.

Voir Gallery: SS25

The shuttle pod is just one of the many interactive elements to be found within these gallery spaces. The cubes celebrating Donald Judd’s work, for example, include poses, while the art on display in the Wild Weed and be appreciated by sitting in the steel bucket suspended from a helium balloon, or sitting within the elevator car (although be careful here! Clicking the car when seated will cause it to rise, and it’s not quite aligned with the upper platform 🙂 ).

Should you find travelling on foot a little confusing, also note that there are teleport boards scattered throughout the parcel – although they may not be at all the locations described here. A typical example of these boards is at the Canyon top landing point, by way of an example.

Voir Gallery: SS25 – Calypso Applewhyte

The Voir gallery spaces make for an engaging visit, and offers something of a journey of discovery is seeking out all of the art on on display.

SLurl Details

The Saint, American history, time and special agents

Seanchai Library

It’s time to highlight another week of storytelling in Voice by the staff and volunteers at the Seanchai Library. As always, all times SLT, and events are held at the Library’s home at Holly Kai Park, unless otherwise indicated.

Sunday, February 3rd, 13:30: Tea Time with The Saint

Adventure came to him not so much because he sought it as because he brazenly expected it. He believed that life was full of adventure, and he went forward in full blaze and surge of that believe…

So reads The Man Who Was Clever, billed as the first graphic novel about Simon Templar, aka The Saint, aka The Robin Hood of Crime, and the creation of Leslie Charteris, when describing the man himself. Templar first arrived in literature in 1928, his career in print spanning almost six decades with Charteris, with later books and stories being written in collaboration with other writers.

His career in other media started in 1938 with the release of the motion picture The Saint in New York, and in radio in 1940 – with none other than Vincent Price most famously providing Templar with a voice from 1947 to 1951 on no fewer than three US radio networks.

However, it is probably as personified by Roger Moore on television between 1962 and 1969 that Templar is familiar to most. This series actually added to the library of The Saint’s literature, with a number of original scripts for the series – with Charteris’ approval – becoming short stories using his name as the author.

The Man Who Was Clever first appeared in 1930 as a part of the first collection of short stories about The Saint published under the title Enter The Saint. In it, Templar, the man who robs from the evil and heartless rich, and gives to the wronged and deserving poor, entered the world of graphic novels thanks to a story adaptation by Mark Ellis with David Bryant serving as illustrator. It marks the start of a new series of Tea Time adventures for Seanchai Library, with David Abbot, Corwyn Allen, Kayden Oconnell, and Caledonia Skytower.

Monday, February 4th 19:00: Hanta Yo: An American Saga

Gyro Muggins reads Ruth Beebe Hill’s extraordinary novel that is either loved or hated – and has certainly proven controversial since its first publication.

Lyrically written, the story is, at its core, a multi-generational saga follows the lives of two Indian families, members of the Mahto band of the Teton Sioux, before and during their first contact with the white man and his “manifest destiny.” Within its sweeping story, Hill attempted to fashion an epic, Native American version of Alex Haley’s Roots.

Allegedly based in part on writings translated from a Lakota Sioux winter account translated by a First Nation Sioux, the story is certainly cohesive and vivid. For those unfamiliar with the lives and rituals of the Plains Indians of North America, it makes for a fascinating and enlightening read.

However, to some in the Lakota, the book is seen as demeaning and misrepresentative – a fact Hill herself finds baffling. Whilst she fully acknowledges the story is a “documented novel” – a fictional story based on actual events – she also notes that she spent some 20 or more years researching Hanta Yo and carrying out hundreds of interviews with representatives of the Sioux, Kiowa, Omaha, Cheyenne, and Navajo tribes, including allowing them access to her manuscript to verify the historical elements from their standpoint.

Event today, in the year of the 40th anniversary since its first publication, Hanta Yo divides opinions. So why not settle down with Gyro to hear the tale first hand?

Tuesday, February 5th 19:00: The Time Keeper

The inventor of the world’s first clock is punished for trying to measure God’s greatest gift. He is banished to a cave for centuries and forced to listen to the voices of all who come after him seeking more days, more years.

Eventually, with his soul nearly broken, Father Time is granted his freedom, along with a magical hourglass and a mission: a chance to redeem himself by teaching two earthly people the true meaning of time.

He returns to our world – now dominated by the hour-counting he so innocently began – and commences a journey with two unlikely partners: one a teenage girl who is about to give up on life, the other a wealthy old businessman who wants to live forever. To save himself, Father Time must save them both. And stop the world to do so.

Join Caledonia Skytower and Kayden OConnell as they read Mitch Albom’s 2012 novel.

Wednesday, February 6th 19:00: The Jennifer Morgue

Corwyn Allen reads the second volume in the Laundry Files by Charles Stross.

Bob Howard is an IT expert and occasional field agent for the Laundry, the branch of Her Majesty’s Secret Service that deals with occult threats. In this second outing, Bob Howard finds himself dragged into the machinations and conspiracies of megalomaniac multi-billionaire Ellis Billington, The Black Chamber and The Laundry…

Dressed in a tuxedo (what else for a globe-trotting British Secret Agent?) and sent to the Caribbean, Bob must infiltrate Billington’s inner circle via his luxurious yacht. His mission? Prevent the Billington from violating a treaty that will bring down the wrath of an ancient underwater race upon humanity’s head.

Offering a wonderful pastiche on both the world of James Bond and a wonderful mimicking of Ian Fleming’s style of writing, Stross produces a novel that also evokes Lovecraftian overtones that is delightfully entertaining to read. In true Bond style, Bob is (reluctantly) partnered with an American agent – in this case a stunningly beautiful woman who also just happens to be a soul-sucking succubus from another dimension. Which, being the case, marks Bob’s mission somewhat differently to those of Bond: not only must he stop the bad guys and come through this at best shaken, he must totally avoid being stirred towards getting the girl…

Thursday, February 7th:

19:00: The Saga Of Koadalan

A Celtic legend told by Shandon Loring. Also in Kitely grid.kitely.com:8002:SEANCHAI.

21:00: Seanchai Late Night

With Finn Zeddmore.

2019 SL User Groups 5/3: TPV Developer Meeting

Zimminyville; Inara Pey, December 2018, on Flickr
Zimminyvilleblog post

The following notes are taken from the TPV Developer meeting held on Friday, February 2nd, 2019. A video of the meeting is embedded below, my thanks as always to North for recording and providing it. Time stamps are provided to the major topics of discussion , which will open the video in a new tab for ease of reference.

Note that, as per the warning at the start of the video, there was an immature attempt to disrupt the meeting using voice / audio, and so there are lengthy periods of silence in the video to mute out the attempts.

SL Viewer

There have been not updates to any of the official viewers through week #5, leaving the pipelines as follows:

  • Current Release version 6.0.1.522263, dated December 5, promoted December 13. Formerly the Spotykach Maintenance RC viewer – No Change.
  • Release channel cohorts (please see my notes on manually installing RC viewer versions if you wish to install any release candidate(s) yourself):
    • BugSplat RC viewer, version 6.1.0.523335, January 23. This viewer is functionally identical to the current release viewer, but uses BugSplat for crash reporting, rather than the Lab’s own Breakpad based crash reporting tools.
    • Estate Access Management (EAM) RC viewer, version 6.1.0.523351, January 23.
    • Love Me Render RC viewer, version 6.0.2.523177, January 16.
  • Project viewers:
  • Linux Spur viewer, version 5.0.9.329906, dated November 17, 2017 and promoted to release status 29 November – offered pending a Linux version of the Alex Ivy viewer code.

Obsolete platform viewer, version 3.7.28.300847, May 8, 2015 – provided for users on Windows XP and OS X versions below 10.7.

[00:00-2:57] The three RC viewers have all had recent issues which have prevented their promotion to de facto release status.

  • Of the three, the EAM RC might be the closest to being ready for promotion.
  • The Bugsplat RC has been delayed due to the need to remove the code that allowed the viewer to be installed on Windows at account level, rather than at Admin level due to internal issue with Second life :URLs not working. This will require a further RC release before the viewer is liable to be ready for promotion.

Visual Studio Update

[2:49-3:42 and 19:50-21:51] The work to update the viewer build process to use Visual Studio 2017 is progressing well, with the focus on rebuilding all the various libraries need by the viewer to use VS 2017. The move to automate as many of the update processes as possible when updating the Visual Studio 2013 a couple of years ago means that this update should be significantly easier.

One outcome of this work is that when complete, it will allow LL to provide better  customised CEF support.

Environment Enhancement Project

[3:45-4:53 and 18:00-19:29] Please see my January 31st CCUG summary for a complete update. In brief:

  • A further simulator RC roll expected in week #6.
  • The viewer is close to being ready for promotion to RC status, and the next update should include a lot of bug fixes.
    • When this happens, it will not include crepuscular rays (and possibly some other atmospheric effects) due to performance issues that are still being worked on. Hopefully the capability will be added in the near future.
  • A final decision on capabilities that would make the cut for the initial viewer update / the release was due after the TPVD meeting, so expect further updates possibly at the week #6 SUG meeting.

Non-HTTP Asset Fetching / UDP Path Deprecation

[17:16-17:45] The work to remove all asset fetching UDP messaging from the simulator code will see the updated code deployed to Aditi in DRTSIM-400 (pre-RC readiness). It will then appear in an RC release on the main grid some time in the next couple of weeks. Once deployed, this will mean anyone using really old viewers that do not have HTTP asset fetching will no longer be able to obtain responses to asset requests.

Linux Viewer News

[21:54-23:20] The Lab is starting to receive some good input from Linux contributors to help get the official Linux flavour of the viewer back up and running. As noted in my previous TPVD meeting summary, this may not be a 100% functional version of the viewer; for example, Voice will likely not be supported, due to the fact that Vivox no longer supports Linux, and internal changes to the viewer mean that older version of the Linux voice plug-in will not work with the current viewer code. Those that need voice on Linux can try running the Windows SLvoice EXE (or even the entire Windows viewer) under Wine or similar emulation.

Other Items

  • [9:46-11:05] Mac OS voice issues: these are known about by the Lab. The Mojave issue cane be solved by giving the voice application permission to use the microphone; if users can’t get the permission dialogue, the route (for now) is to delete the viewer completely and re-install – just be sure to keep an eye out for the dialogue after the re-install and when trying to use voice (check all your monitors, check behind other open application windows, etc.).  There is also a contributed fixed from Firestorm’s Tonya Souther (and currently in the BugSplat RC) that should also help with Mac OS voice issues.

The otherworldly beauty of Whats Lost Spirits

Whats Lost Spirits; Inara Pey, February 2019, on FlickrWhats Lost Spirits – click any image for full size

We were drawn to this Full region of What’s Lost Spirits on the recommendation of Annie Oh (AnnieBrightstar). In all, there are three different areas to be discovered, but in this article I’m concentrating on the remarkable ground level design by region holder Stabitha Chronotis (What88 Zond) – although I will give some information on the other levels further below. I’m focusing on the ground level because it is perhaps the most marvellously bizarre, otherworldly, beautifully imaginative and utterly unique designs I have ever visited in Second Life. It simply defies description – and quite wonderfully so.

When I say “defies description” you really can take me at my word; there is no obvious over-arching physical theme; what is offered is a unique series of visual vignettes, each one whispering its own tale. However, they are all drawn together, somewhat subliminally, through the use of certain motifs and in the roots of their design, as Stabitha openly notes.

I have severe bi-polar. One of the fun little side-effects for me are hallucinations and very, very, vivid dreams. When I sleep, I am often taken back to familiar places and people. Time passes while I am awake, and the structures change, but the place always stays the same. Some islands represent those places, while others are based on real life experiences, fears and how I see the world.

– Stabitha Chronotis (What88 Zond), describing Whats Lost Spirits

Whats Lost Spirits; Inara Pey, February 2019, on FlickrWhats Lost Spirits

A visit actually starts somewhat innocently: in the main hall of what appears to be a psychiatric hospital. At the reception desk, a nurse with a look that suggests she should perhaps be one of the patients, is trying to tempt you with a handful of pills; in a doorway stands an ordinary-looking gentleman is somewhat Victorian garb – ordinary on his left side, that is. Cam up to the floor above (the elevator  didn’t appear to be working at the time of our visit) and you’ll find a trio of skeletons apparently discussing matters of life or death while armchairs float around their heads; across the room a model house burns, books pirouette in the air and grandfather clocks look down serenely, gravity having turned a blind eye to their misbehaviour.

All of this may sound typical of many a haunted asylum experience, oft to be found in Second Life. But trust me, it’s not. When set with Stabitha’s description of the region, it is clear this scene, complete with its set of very distinctive inmates, represents something both personal.

To help guide visitors through this world of dreams, Stabitha is adding a series of pictures frames in the region. Blue in colour, these present background story notes (you’ll need to read them; they are not touch for text / note card). The first can be found behind and to the right of the ground floor reception desk, indicated by a sculpture of a hand pointing to it, and another is to be found on the upper floor of the hospital.

Whats Lost Spirits; Inara Pey, February 2019, on FlickrWhats Lost Spirits

However, for the real proof of the region’s stunning uniqueness, simply step outside, walk across the board walk and down the stairs to the waterfront pier. What you’ll see through the haze of a twilight sky may take time to fully make out, but it is guaranteed to have your jaw dropping.

What lies before you is the most incredible archipelago of island, both sitting on the grey waters and floating in the sky – some anchored by heavy chins linked to hands grasping at the sea floor to prevent them drifting off. Most of the islands are static, each presenting its own scene, but wait a moment or two and you’ll witness that two will actually detach themselves from a larger island and either rise or descend to join seamlessly with another, thus forming the most remarkable elevators one might imagine, complete with giant elephant on one and chapel on the other.

But to reach, them, one must first cross the water. While this can be done by flying, a more interesting way is to travel over the water via the bumper boats that can be rezzed as most water level locations. But be warned – passage using them can be slightly explosive!

Whats Lost Spirits; Inara Pey, February 2019, on FlickrWhats Lost Spirits

From across the water, the setting for the landing point hospital can be further appreciated: it forms part of a broken, Gotham-like vision of New York backed by high cliffs to one side, and which has clearly experienced some form of cataclysmic event – an element shared with other parts of the archipelago.

Life and death are very much part of this setting – as witnessed through the motif of glowing-eyed skulls, and a large sculpture contained within a greenhouse entitled Birth of a World. This greenhouse is reach via an avenue of trees resembling grasping hands rising from the ground in another possibly oblique reference to death. Similarly, the chapel on one of the island “elevators” might be seen as a sideways reference to the journey of the soul, post death, as it repeatedly rises and descends. But if so, which of these is the journey to heaven?

Whats Lost Spirits; Inara Pey, February 2019, on FlickrWhats Lost Spirits

There are other, more “traditional” (if such a word can be used in so imaginative world) elements of fear and nightmare to be found here. Travel north-east beyond the central island rising from its screaming head base, for example, and you could find your way to run-down carnival with not-to-friendly clowns.

Throughout the build, the attention to detail is superb – if a little macabre in places; I have to say, I love the spirit of a dead horse rising from the corpses of several, but this might not be to everyone’s taste. It’s a wonderfully evocative motif for mind state. There are also a very subtle use of certain elements that help link the floating islands with those rising from the waters below, offering a gentle visual reflection of Stabitha’s comment that in the country of her mind, Time passes while I am awake, and the structures change, but the place always stays the same.

One thing to not is that not all the regions can be reached by boat or elevator, you will have to fly up to some to appreciate them fully; if there is a teleport system linking them one to the others, neither Caitlyn nor I spotted it.

Whats Lost Spirits; Inara Pey, February 2019, on FlickrWhats Lost Spirits

High above the region are two more settings: Super Orbital Time Station Zenobia, built by Vic Mornington (Victor1st Mornington) and Slime Square, a further build by Stabitha. The former has a certain Gallifrey citadel feel to it – although please note this may well be going away in the near future – so be warned when teleporting! The latter is (to me at least) the more interesting for exploration, offering a Ghostbusters role-play environment (do look for the “underground” elements as well). However, it is first and foremost Whats Lost Spirits that captivated my eye and imagination, and really should not under any circumstances be missed as a destination.

SLurl Details

Sansar 2019 Product Meetings week #5: release R29 summary

Scurry Canyon shooting game by FullSpectrum

The following notes were taken from the Sansar Product Meeting held on Thursday, January 31st. The full video of the meeting is available here. These notes highlight information pertaining to the upcoming R29 release, and user engagement discussions.

Upcoming Release Highlights

Emotes  / Animations Fix: there is an issue with the current release that can see some odd behaviour with animations, particularly for those in VR. There will be a fix for this in the next release, however, it will mean that users with custom animations will have to re-assign them to their perferred emotes. This will only have to be done once.

Teleport Portal Feature: the next release will include a new chat-driven teleport portal feature. This allows a limited time portal to be created in an experience that can be used by anyone to teleport to another experience. The command will take the format “/portal”, and the portal will exist for around 2 minutes.

So, for example, if you are with friends in an experience and decide you all want to visit Aech’s Garage, one person in the group can type:

/portal https://atlas.sansar.com/experiences/sansar-studios/ready-player-one-aech-s-garage

The rezzed portal can then be clicked on by those wishing to use it to transfer to the other experience until the portal times-out and vanishes. Should this prove intrusive, the Lab will consider adding an option for experience creators to block the capability, if required.

VR IK Improvements: updates to the IK system should mean that hand movements will not lag so noticeably behind actual hand movements when in VR. This is part of work to improve overall IK responsiveness.

R29 should also see the removal of the height calibration menu and storing a person’s height when using VR. There will still be options for setting it, if required (such as when a headset is being used by two different people); but where the headset is only used by the one individual, once height is set, it will be saved, and it will no longer be necessary to re-calibrate in different sessions. In addition, it will also include the ability to manually adjust the recorded height.

Hidden surface removal algorithm: this should seem significant improvements when selecting / updating your avatar looks (the in progress spinner shouldn’t appear for quite so long – the reduction in time estimated to be from the current 20-30 seconds to around 7 seconds.

Edit Server Fixes: R29 will include a number of Edit Server fixes. It is hoped these will help reduce the number of Edit Server disconnects experience creators can be faced with when working on a scene. This work is part of the overall effort being put into stability across the entire platform.

User Engagement

Avatar Movement / Controls

There have been complaints (and still are) about various aspects of Sansar’s control options (many of the complaints on Steam, for example, target the “non-intuitive” set-up of the VR  hand controller options).

One area of frustration many have is in avatar movement. In SL, for example, using the D key will orient the avatar and camera so the avatar is clearly facing the direction it is walking in. In Sansar, the camera will remain in place as the avatar walks to the left or right, giving what can be an odd “strafing” slide to the camera until it is re-oriented.

The problem here is which sort of controls are best: it might be argued that the “strafing” approach is something common in games, while the SL approach is more “non-standard”. However, users coming via Steam seem to be experiencing issues with turning their avatars when walking. So, the lab is seeking feedback on how best to consider possible improvements.

Quest / Progress System and user Engagement

To help new users, LL are working on a “quest / progression” system for Sansar.

  • Initially this will be a tutorial style option for new users, designed to take them through a basic quest and learn to use the basic controls (VR and keyboard), carry out tasks (pick things up, use them, drop them, teleport, etc), complete with some form of rewards / progress system that will deliver them to their Home Space on completion.
  • It will likely include a “come back and do this later” opt-out to allow people who are joining Sansar to attend a specific event (e.g. a show or performance) to log-in and get directly to the event, rather than being diverted into this on-boarding process.
  • Over time, the Quest / progress system will be opened out to experience creators, so they can embed it within their own games / quests, offer their own rewards / prizes (initially via the store), etc.
  • This system will (eventually) include infrastructure and capabilities that will include: information on the current quest a user is playing; how far they have progressed; what their upcoming task(s) is / are, etc.
  • Ideas put forward by both the Lab and creators at the meeting) for quest / game environments that might be built on this system include:
    • Hunts of some description, which also might be across multiple experiences, should experience creators have their builds included and add rewards to the quest.
    • Escape Room style games.
    • Story-based quests  – mysteries to be solved, etc.
    • More social-style games were also suggested, such as board games, card games, etc., that can easily be played by a group of friends.

For new users, there needs to be a clear distinction between goals and achievements. For example, Making 10 new friends might be considering an (unadvertised?) “achievement” within a quest, were a new user happen to do this as they played it; but it would not be a stated goal of the quest (as in, “you must now gain 10 friends in order to proceed to the next level”). This is to avoid new users lobbing multiple friend requests every time they come across other people and possibly annoying them. However, going to X, solving Y / overcoming Y to receive Z from the store, would be a goal / reward.

Another idea put forward is a system of badges / medals that can be received through repeated engagement in the platform. This type of system is used within Steam and is apparently popular there, and High Fidelity utilise a similar system as well.

Platform Promotion: VR AND Desktop Accessibility

One issue seen with Sansar gaining new users is that it is frequently perceived as “VR only” (this is a common form of feedback among Second Life users – I’ve seen it in comments on this blog).

In 2018, the Lab adjusted some of their advertising to de-emphasise the VR aspect of Sansar (such as removing some of the VR bias from the Sansar.com homepage); but conversely, there are still events that are promoted with this bias – Comedy Gladiators being a case in point (e.g. Comedy Gladiators, from Comedian Steve Hofstetter, Takes Live Entertainment to New Heights with Real-Time Ticketing & Physical Merchandise Sales in VR – Linden Lab press release, November 29th, 2018).

It’s been acknowledged by the Lab, that more needs to be done to emphasise the fact that Sansar can be enjoyed directly from the PC desktop without the need for a VR headset.

In Brief

  • Simple Scripts: it is widely felt these are under-utilised by experience creators. One issue is the lack of detailed documentation / tutorial material to go with them. This is apparently being addressed by the Sansar team.
  • 3D Mouse systems: following repeated requests from creators and machinima makers, initial steps have been taken to investigate whether support can be added to Sansar.
  • Other points of discussion, such as bugs, questions on specific aspects of content creation, etc., can be obtained by watching the video.