Month: April 2020

Expressive art at La Maison d’Aneli in Second Life

Posted on by Inara Pey
La Maison d’Aneli: FionaFei

Aneli Abeyante opened the April 2020 exhibition at La Maison d’Aneli on Wednesday, April 8th, and once again she offers an intriguing and engaging selection of art and artists, with content running from physical world art through to digital media whilst enfolding both 2D and 3D art. In keeping with the gallery’s ensemble style of art shows, six individual exhibits are presented for April, the work of seven artists in total split between the lower and upper levels of the gallery.

On the lower floor, and to the south side of the central aisle are contrasting 2D art displays by Agleo Runningbear and Tralala Loordes.

La Maison d’Aneli: Agleo Runningbear

Known as April Louise Turner in the the physical world, Agleo is a woman of many colours – art, shaman, teacher, poetess, to name but four – who presents her work under her own name and the title ArtShifter. She is a gifted portrait artist and caricaturist, who here presents 20 of her pieces in both line drawing and colour, of celebrities from the worlds of art, entertainment and fashion, some of them more than once.

Most of the faces (particularly if you have a long memory or a love or the arts, entertainment and fashion) may leap out at you, as did for me, Jaques Brel, Charles Aznavour (x2), Gerard Depardieu, the charcoal (?) caricature of Catherine Deneuve, the pairing of Karl Lagerfeld images (one a slight giveaway as his name is added) and the pair of Yves Saint Laurent pictures (although I did initially wonder if his blue-toned painting might be Isaac Asimov on first sighting it).

La Maison d’Aneli: Tralala Loordes

Tralala – perhaps best known for her Tralalas Diner location designs, presents a further series of self-portraits featuring LODE headpieces in what might be described as a celebration of the warmer seasons mixed with a hint of fantasy. These are quite gorgeous pieces – although I admit to feeling that the ambient lighting for the display does not do them the justice they deserve.

Across the central aisle to the north are the digital media presentations by Etamae and the combined talents of Kalyca McCallen and Eifachfilm Vacirca (aka Proton d-oo-b) operating under the combined name of Alchemelic.

La Maison d’Aneli: Etamae

Hailing from the UK, Etamae has a gift for producing striking images from Second Life of – to use her own words – “the things she has seen and loved which have inspired her to transform them into something else – not more, nor better – simply different.” The results are always captivating, and here she offers an installation of what might be described as two parts – both of which require the use of the viewer’s Advanced Lighting Model (ALM: Preferences → Graphics, with the further advisory that your local viewer time is set to midnight). The first presents a series of animated digital images that challenge the eye in an almost hypnotic manner, the subtle motion drawing us into them and gently holding us in a trace. The second part is an equally hypnotic chamber that again involves animated elements.

Alchemelic describe themselves as “a Zurich-based music and art project with cinematographic background, mixed media, and 3D modelling [who] aspire to spark your imagination and elevate your mood with our unique blend of visual art and original music.” At La Maison d’Aneli they offer a two-part installation, The Space Between, which again particularly requires ALM to be enabled) might be described as an examination of the nature of space and relationships that has taken on something of a new meaning in recent times.  Take the Anywhere Door to reach the second part of the installation.

La Maison d’Aneli: Etamae

On the upper floor of the gallery, and lying to either side of the events areas are the exhibits by FionaFei and Xirana Oximoxi.

An artist from Catalan, Xirana describes her art as reflecting her concerns and moods at different times, abstractions or “mental landscapes” that are rooted in a number of artistic mediums and genres. With Lost Souls she offers a marvellous unique series of images that have been born out of the pandemic worries of 2020, and which offer an entrancing play on the the idea of portraiture. Trapped by social isolation and visiting a rooftop, Xirana  found herself drawn to the irregular nature of the walls and their coverings. Weathered and cracked, in places broken, rough conglomerate abutting smooth surface finish, lined and cracked, the surfaces suggest – with a gentle touch of post-processing – faces and characters. The result is is series of utterly captivating “portraits” of “souls” caught within plaster, stone and concrete that brings an entire new meaning to the expression if these walls could speak.

La Maison d’Aneli: Xirana Oximoxi

Facing Lost Souls, FionaFei offers us the chance to visit a wonderful ink wash garden of water lilies in bloom as they are admired by butterflies. Initially appearing to be 2D pieces, these are all more of Fiona’s thoroughly delightful, almost fragile-looking sculptures-as-paintings. Six are offered as hanging scrolls, the seventh, sitting behind a small pond of Fiona’s lilies, as a painting. A small table offers 2D representations of this main painting as a gift to all who visit.

Individual, evocative and fascinating, April at La Maison d’Aneli presents another collection of art that should not be missed.

La Maison d’Aneli: FoinaFei

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Rock Your Rack 2020: theme and designer registrations

Posted on by Inara Pey
via Rock Your Rack

Rock Your Rack, the annual fund-raiser organised by Models Giving Back (MGB) in aid of the National Breast Cancer Foundation (NBCF), will again take place between Saturday, October 3rd and Sunday, October 18th, 2020, inclusive.

Officially endorsed by the National Breast Cancer Foundation, Rock your Rack celebrates its eighth year of fund-raising in Second Life. Each year it brings together music, art and entertainment into a 14-day event that both raises for for, and awareness of the work carried out by, the National Breast Cancer Foundation. Activities at the event include:

  • Designer booths.
  • Fashion shows.
  • Live performers and DJs.
  • An art show.
  • Auctions and hunts.

The theme for this year’s event is Gardens of Hope, with the organisers planning to have different garden themes for each of the event areas.

Rock Your Rack 2018

Designer Registrations

At the start of April 2020, the event opened applications from designers wishing to participate in Rock Your Rack. These are available to any content designers and SL established businesses. Those interested in participating are asked to meet the following high-level requirements:

  • Provide an Exclusive item not for sale anywhere else during the time of the event and has never been previously sold or given away (designer keeps 100% of sales from this item).
  • Provide a Limited Edition item which can be a new design or a remake of an old favourite. 100% of proceeds from this item must go to Rock Your Rack for the National Breast Cancer Foundation, and the item must be marked as such and retired from sales after the event.
  • Provide one item of the designer’s choice for the event’s L$10 Hunt, which gives 100% of funds raised to the NBCF.
  • Sales of all other items can be offered at 100% of proceeds going to the designer, or can be set to give a percentage donation to Rock Your Rack, entirely at the designer’s discretion.

Prices for participation commence at L$2,000 for a basic package that includes a 50 LI allowance which can be used for vendors and decoration; the designer’s logo displayed on the booth and on the Rock Your Rack website, and a SLurl listing to the designer’s in-world store; event advertising on social media and with in-world groups alongside the Rock Your Rack website; and paid advertising through Seraphim and other outlets if approved by those outlets.

There are then a series of options and upgrades available at additional pricing which designers can opt to take advantage of in order to maximise their exposure in this event.

For a full run-down of the designer participant guidelines and rules plus pricing, please refer to the Rock Your Rack designer’s information page, and proceed to the registration form.

Rock Your Rack 2017

About Rock Your Rack and Models Giving Back

Rock Your Rack is the annual fundraiser started in October of 2012 by Jamee Sandalwood and the team at Models Giving Back. MGB is the grid leader in trusted charity events. Jamee takes care of everything from Designers, to bloggers, to musicians, to models. This way any confusion is avoided and no one has to wait to check with anyone else before things are getting done. Rock Your Rack provides full transparency: all of the event’s documentation from screenshot totals, to Lindex transactions, to donation receipts account for every penny that was earned and donated all being posted to the Rock Your Rack website. The event has also, in previous years, obtained formal approval from the NBCF – see the 2018 approval letter for 2018 as an example.

Models Giving Back is the professional team of elite models in Second Life who have dedicated themselves to supporting the efforts of verified RL charities. This team of models gives tirelessly to the events we are involved with always giving of their time and talents to promote those designers involved in our events. For more information on Models Giving Back an how you can become a part of the team, visit the Models Giving Back Facebook Page for information about casting dates and times.

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Devins Eye: springtime beauty in Second Life

Posted on by Inara Pey
Devins Eye, April 2020 – click any image for full size

I was a little stunned to realise that it’s been close to two years since I last blogged about Devins Eye, the Homestead region designed by Ally Mildor & Roy  Mildor (and which is also their home and the base for their store).

Always an eye-catching place to visit, Devins Eye currently sports a wide-open setting much in keeping with past designs, and with the familiar care and eye for detail Ally and Roy share with their designs, set under what resembles a spring afternoon  sky.

Devins Eye, April 2020

On that last occasion of a visit, we found the region was enclosed in a off-sim surround; this time it stands alone, and in doing so offers a very defined island setting with  an equally clearly defined north-south orientation in which the landing point lies slightly off-centre to the east, caught between the rugged southern uplands and the northern dimpled coastline.

Such is the lie of the land, that standing on the grass of the landing point, the land sloping and stepping upwards to the south and dropping gently down to the waters of the north, it’s entirely possible to imagine Devins Eye not so much as an island but a stretch of inter-coastal lowlands backed by a spine of hills that conceal the lands beyond them from view.

Devins Eye, April 2020

This is a place of wonderful contrasts and settings, perfectly blended together into a whole that is an honest delight to explore – and one of the best ways to do so is on horseback. Sadly, scripts are turned off within the region which means that if you want to ride your own wearable horse, you must mount it before teleporting to the region. Fortunately, a rezzing point close by the landing point is available to offers “local” horses to riders.

Buildings are few and fair between, adding to the richness of the setting, while the age and condition of some of them offer a sense of life and history to the island. To the south and at the end of a climbing walk among the hills sits a Tuscan villa. Reached via a grassy path that passes through iron gates and between blankets of lavender floors, it crowns the region, looking down from on high across the lowlands to the west and north.

Devins Eye, April 2020

Down on that coast sits an old pier, home to a squat radio shack, long since converted into something of a den for visitors. This and the villa make up the two main fixed “residential” structures on the island, although scattered between them is an old stone cone of a windmill, its ageing sails still turning, a trailer home that has seen better days, and a small hut occupying sitting on a pier extending into the waters of the region’s lake, watched over by a tall water tower. Power lines are strung across one side of the region, held aloft by a marching line of wooden poles – but whether they still offer a service is debatable – they start and end without connecting to anything.

The age and lie of the buildings provide a sense of the history I spoke of above, giving the island a feeling of being lived in – something readily apparent of the hints of ruins and aged cut stone the are scattered across the grasslands. But there are also signs that this is also a place that is still being renewed: two new looking, stout bridges span the fast-flowing stream that flows out to the sea from the island’s lake, and the water tower is obviously maintained.

Devins Eye, April 2020

Another attraction to the region is the low coastal region to the north. Broken by humpbacked, rocky hills and shingle banks, this coast shares the sense of age of other parts of the region, inlets hiding a variety of elements from wreck fishing boats and rowing boats to places to sit while more sprays of lavender provide a colour link to the higher slopes. Poppies also add their colour to the region – in fact it is the colour casts by the flowers, lavender plants, poppies, yellow daisies, white wildflowers, and so on – that provide more of the region’s depth.

Cut by pools and streams, rising from water’s edge too high hills, there is nothing that can be found in Devin’s Eye that isn’t immediately photogenic, the entire region finished by an ideal windlight and a gentle sound scape. It’s a place of quite remarkable views and quite original features – full kudos to Yvonita Dash for her composite creation ~ xantes ~ Tears Rock, and to Roy and Ally for using it.

Devins Eye, April 2020

Simply put: not a region design not to be missed whether you are seeking a place for photography or for a like romance – or to experience a sense of the outdoors at a time when we’re all being encouraged to minimise out time outdoors.

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Sansar Product Meetings 2020, week #15

Posted on by Inara Pey
The gang’s (almost) all here (l to r): Colo, Aleks, Torley, Lacie, Galileo, Cynno, Binah at the first Sansar Product Meeting under the Wookey banner

On Thursday, April 9th, Sansar held its first product meeting since being acquired by Wookey Project Corp (see: Sansar: looking at the apparent new owner – Wookey Projects Inc. and Linden Lab confirm the sale of Sansar to Wookey Project Corp – updated). The meeting was really a means for the team to say “hi! We’re here!”, rather than providing a huge depth of hardcore information, although there were some Titbits of news.

The following is a summary of the key points.

On Wookey and Sansar

No-one from the Wookey management team was present at the meeting, in part because they have yet to have avatars made; however, their presence is expected at times in future meetings, when they’ll be able to talk more about Wookey Project Corp and their goals / view of Sansar.

Sheri Bryant, Sansar’s GM at Linden Lab, and now heading the team at Wookey; credited with bringing the deal together for Sansar to move to Wookey. Fun fact: she’s a huge Godzilla fan, and her Sansar avatar – Cowboy Ninja – features a Godzilla shoulder pet.

A shout-out from the Sansar team was given to Sheri Bryant. Sheri (aka Cowboy Ninja in Sansar) was the General Manager for Sansar at Linden Lab, and she is credit with leading the work in bringing about the deal between LL and Wookey Project Corp. She has also moved to Wookey, where she remains in charge of Sansar.

Many of the team are already with Wookey- attending the meeting were: familiar names: Binah (UI Engineer); Aleks (Product Manager); Galileo, Lacie, and Torley, (Production Director, Sansar Studios). While he wasn’t that the meeting, Boden was also mentioned as having joined Wookey as well, retaining his position as a Product Manager.

Also joining the meeting were some new (to me at least) names:  Cynno (Art Production Manager Sansar Studios) and Sansar Studios (Colin – the Creative Director at Sansar Studios), both of whom report to Torley; together with  Colo, the Director of Engineering and the Release Manager, and Steel, one of the QA Engineers.

Many positions are still being recruited into, and it was indicated that there are a number of engineering team positions that need to be filled, and these and the SARS-CoV-2 situation are slowing the full resumption of work on Sansar. In this latter regard, the Sansar team was less distributed than the SL team while at Linden Lab, with most of them office-based; this means equipment, etc., has been / is being sourced and shipped to their home locations to allow them to start remote working.

The meeting was also an opportunity to say farewell to Galileo as the Sansar Community Manager, who is departing the Sansar team as a result of having accepted a new position with Pocket Gems, a games development company. This means Lacie will be taking over as the official Sansar Community Manager, although Galileo will continue to be an active Sansar user and involved in the COMETS programme.

Roadmap

As has been indicated through various sources (see the Lab’s press release and the Sansar blog post both announcing Wookey’s acquisition of Sansar), the emphasis remains on building Sansar as an events platform that will attract “thousands”.

There is no public road map as yet, although it is promised that one will be produced – probably not as granular as the internal road map – and might be available in two weeks time at the next Product Meeting. However, current areas of focus comprise:

  • Continuing on from where things were left off.
  • Moderation tools development and deployment.
  • Narrowing the new users on-boarding experience – making it easier for people to get from sign-up to event; improvement the tutorials, etc.
  • Working on stability improvements for events.
  • Tip jars are seen as being on the “tail end” of the moderation / on-boarding work.

However, it will take a little while longer for work to ramp-up once more due to both the current SARS-CoV-2 situation and the need to recruit additional personnel.

Avatars, Vehicles, Edit Tools Improvements, etc

Due to the current state of play, a lot of the planned / promised engineering / dev work has already been pushed back further in the road map. Specifically mentioned in this regard were:

  • Avatar improvements.
  • Vehicles.
  • Edit Mode improvement such as folders for items, etc.
  • Allowing world creators to nominate “admin staff” to help run their worlds.
  • Creator access to the Backpack.
  • Collaborative building.

Sansar Mobile Service

Back when Sansar had yet to début, there had been talk of the platform being accessible from mobile devices. Ultimately, this got pushed to one side – but is now something of a priority.

Not much can be announced at this point in time other than:

  • It will most likely be a streaming service, initially for iOS and Android.
  • It will not (initially at least) support VR headsets like Oculus Quest.
  • Precise initial capabilities are still TBD.
  • Again, no time frame on when any first cut might appear, nor have potential fees been set.

Event Partners

  • MonsterCat, Roddenberry Entertainment and Fnatic will be returning to Sansar to host events.
  • There have been continuing talks with musicians and “major names” about coming to Sansar to perform. None of the specifics are ready to be announced as yet, but some may be ready by the time of the next Product Meeting.

General Notes from the Meeting

  • Support tickets before March 24th, 2020 need to be resubmitted, if still relevant.
  • The partnership with Marvelous Designer™ should continue as before.
  • Two-factor authentication for Sansar is “on the list” of things the team would like to implement. However, no time frame on when it might start to surface.
  • The entire approach with the Nexus is to be re-examined, specifically with the view to making it more linear for incoming users to get from it to the event they wish to attend / the most popular locations in Sansar.
  • It is still planned to eventually extend the ticketing system so that world creators can use it with events they organise / host.
  • The Sansar team is looking into improved documentation sharing, tutorials, offering tips and tricks through a wiki-style environment, world templates, etc.

Possible Changes to Accounts

  • Wookey / Sansar looking at things like the partnership with Steam, subscription options, and how they are structured, but nothing to announce.
  • The number of worlds a Free account can publish may be revised in the future. Whether this will mean those who have already published multiple worlds will be allowed to keep all of them or not if they have published worlds beyond the new limit, is TBD.
  • There will likely be a tightening of requirements for users organising Sansar events (e.g. events may only be hosted by “authorised / approved / trusted” – details TBD – accounts).

Speedlight: looking at the 3D world view

Posted on by Inara Pey
via Speedlight

At the end of March 2020, Speedlight, the browser / Android Second Life client, extended its world rendering capability to Free account holders whilst also offering Gold members the ability to move their avatars around.

Over the last few days, I’ve had the opportunity to take Speedlight’s world view for a test on both Free and Gold accounts, and this article is intended to act as both an introduction to the capability and to provide insight into where it stands at this stage of its development.

Before getting down to specifics, it should be remembered that it is still very early days in the development of Speedlight’s rendering capabilities – what is seen here is by no means anything close to what might be considered a “finished” product. Avatars, for example, are only presented as rudimentary “manniquins”, as the emphasis thus far has been on rendering in-world objects, and the Speedlight team plan to improve avatar looks in the future.

The Speedlight world view showing our living area at home. The rendering is acceptable, although there are some niggles that will doubtless be addressed in future updates (e.g. in this image, the “glass” doors rendered as soid grey objects, the ceiling rendering as black). Certainly, they are not enough to detract from what has been achieved at this early stage of work

Also at this point in time, the world view doesn’t offer any avatar / object interaction (no right-click options, etc.), and interaction (chatting, IMs) with other avatars is via switching tasks using the left menu. Other points worth keeping in mind with the world view are:

  • As I understand it, Speedlight uses an intermediary server for organising asset data information for download to the client, and this can have an impact of how fast a scene can be rendered. It also means that rendering can occur in “bursts” as object and texture data is collected (visible in the information bars at the top of the world view panel – see below), so it’s perhaps preferable to refrain from changing your camera view / moving your avatar until the scene has loaded.
  •  Key differences between Free and Gold accounts in terms of world rendering are:
    • Free accounts do not (as of the April 1st 4.093.0825 release) have the ability to move their avatar, but can orbit / zoom their camera.
    • Gold account can move their avatar via the Arrows keys when running in a browser, or via the on-screen “joystick” when using the dedicated Android app.
    • I understand from Speedlight support that the number of textures / objects a scene loads is “capped” for Free accounts at present, in order to prevent the intermediary server from being flooded with requests to handle asset information.
  • The world view requires a minimum of Android 7.0 to work on an Android device (either using the dedicated app or when running Speedlight through an Android flavour of a web browser). As I only have Android 6.0.1 at my disposal, this precluded me from trying Speedlight’s rendering on a mobile device.
  • In order to limit any excessive load, rendering is limited to a radius of apprximately 50-60m around your avatar / camera, with objects fading into haze – an effect that helps disguise what might otherwise be glaring “holes” in a scene.

Accessing the World View

  • Log-in to Second Life via your Speedlight account and Open your avatar account.
  • The Summary screen will be displayed.
  • Click / tap the 3D World View option in the left side menu.
  • If you have not run the 3D world view during the current session, a blank window is displayed with the message: Avatar Is Not Rendering 3D World.
  • Click / tap the button under the message to start the rendering process.
  • Rendering will commence, with a warning that it could take 2 mins. Given the variables involved (complexity of scene, information fetching / caching, network connectivity and speed, etc.) this is a not unreasonable estimate.
  • The information bars at the top of the world view (see image below) will report the land area, the number of textures and objects that are being processed / loaded.
The world view explained: 1: the X, Y, Z region coordinates of your avatar; 2: object and texture load count – will change as you cam / move / teleport. 3: horizon hazing at the limits of the pre-set draw distance; 4: avatar mannequin – displays a small green arrow (not always visible) to show direction being faced / avatar will move in (Gold only); 5: information bar – Gold membership shown; Free accounts have a yellow panel located on the left of the world view, carrying different information

Observations

Given this is still very much a first cut at scene rendering, what is presented is impressive, if with some niggles to be addressed, as noted above, and with things like dealing with blended alpha masks and with some transparent surfaces, etc.). However, these will hopefully be addressed over time.

Movement also seems to have a degree of latency surrounding it – possibly because of the use of an intermediary server on top of general network / connectivity aspects. This can be particularly noticeable when ceasing avatar movement, which can result in a degree of “rubber banding” as the avatar’s position as estimated by the client is updated with its position as recorded by the simulator. As such, I found it preferable to use light, repeated taps on the movement keys rather than holding them down for extended periods.

I also encountered a peculiar issue with my avatar simply refusing to stop walking, even after a teleport; something that I could only remedy by relogging. It’s something that may well be unique to me, although I’ve reported it to the Speedlight team just in case. Should anyone trying Gold membership with Speedlight encounter a similar problem also advise the Speedlight team?

Overall, and in terms of appearance, it is not unfair to say that Speedlight’s world view is pretty much on a par at this point in its development with that Lumiya’s world view during its earliest days of development – and look how far that went over time. Whether Speedlight will go on to mature to a similar level of capability with its rendering obviously remains to be seen. However, given that development is only a couple of months old (and niggles aside) what has been produced thus far is not to be sneezed at, and I look forward to continuing to cover the client’s development in the future.

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2020 Simulator User Group week #15 summary

Posted on by Inara Pey
Aoshima, February 2020 – blog post

The following notes were taken at the Simulator User Group meeting held on Tuesday, April 7th.

Simulator Deployments

Please refer to the simulator deployment thread for updates.

  • There was no deployment to the grid on Tuesday, April 7th, 2020, leaving the majority of regions running simulator version 538914, containing support for the upcoming mobile companion applications (see: Second Life companion app: mini update, March 2020).
  • On Wednesday, April 8th, there should be two RC updates:
    • Simulator release 539362, containing infrastructure improvements related to the cloud uplift.
    • Simulator release 539684, containing the following:
      • BUG-228417 Emails created by llTargetedEmail() in deeded objects show owner as NULL_KEY in the received email metadata.
      • BUG-228412 Emails created by llTargetedEmail() are missing header info in the received email.
      • SL-12941 Disable TARGETED_EMAIL_ROOT_CREATOR in llTargetedEmail
      • SL-11502 New LSL function llTargetedEmail
      • BUG-226917 EEP Environment, New Sky should default to midday and not 6pm
      • BUG-226737 [EEP] The ‘get parcel_dayoffset’ request returns the value of the ‘parcel daylength’ parameter in the Region Debug Console.

SL Viewer

There have been no updates to the current crop of official viewers to mark the start of the week, leaving the current pipelines as follows:

  • Current Release version  version 6.3.8.538264, dated March 12, promoted March 18th. Formerly the Premium RC viewer – No change.
  • Release channel cohorts:
    • Camera Presets RC viewer, version 6.3.9.538729 March 25.
    • Love Me Render RC viewer, version 6.3.9.538760, March 25.
    • EEP RC viewer updated to version 6.4.0.538823, March 20.
    • Zirbenz Maintenance RC viewer, version 6.3.9.538719, issued March 19.
  • Project viewers:
    • Copy / Paste viewer, version 6.3.5.533365, December 9, 2019.
    • Project Muscadine (Animesh follow-on) project viewer, version 6.4.0.532999, November 22, 2019.
    • Legacy Profiles viewer, version 6.3.2.530836, September 17, 2019. Covers the re-integration of Viewer Profiles.
    • 360 Snapshot project viewer, version 6.2.4.529111, July 16, 2019.

In Brief

With work progressing on the cloud uplift, some concern has been raised by those using external services and HTTP calls to / from the simulators once the latter start to be transitioned and have their domains changed.

While in-world object URLs are dynamic, it’s been suggested that some use external services use URL validation with hard-coded domain names (e.g. “http://sim10446.agni.lindenlab.com….”) in response to issues, and will therefore need a formal warning of URL changes as a result of domain changes. Given this approach is not recommended, the fact that LL will start to transition simulators to AWS services later in 2020 should be taken as fair warning that such validation checks will break. However, for those with concerns:

  • Aditi (the beta grid) will be transitioned first, allowing scripts, external calls, etc., to be tested.
  • With respect to this issue,  llHTTP on the wiki will be updated to reflect domain changes and HTTP call requirements.