Discovering disc golf in Second Life

Disc Golf, The Raven’s Nest, March 2021

I’ve written about golf in Second life in these pages a number of times; whilst hardly a fan of the game in the physical world – I tend to be firmly in the Arthur Myers camp that “to play golf is to spoil an otherwise enjoyable walk” (Lawn Tennis At Home & Abroad, 1903, and often quite apocryphally attributed to Mark Twain as “golf is a good walk spoiled”), I do enjoy the occasional round with Caitlyn in-world. So, when Kali Rose recently invited me to pay a visit to The Raven’s Nest and try a round of something called disc golf – which I confess I’d never actually heard of before – it seemed like I should hop over hop over and try things out.

A full region utilising the 30K private region bonus, The Raven’s Nest is home to the Rose family (private residences are located on the south and west sides of the region, so do please keep that in mind if you visit) and also to Her GeekSpot brand and store, which has been rather neatly as a film studio lot. The disc golf course takes up the majority of the region, offering a good means to explore.

The Raven’s Nest, March 2021

Disc golf is essentially “regular” in-world golf, but with the club and ball replaced by a Frisbee-style disc and the hole by a basket you try to throw your disc “into”. Like golf, it can be played over 9 or 18 “holes”, with The Raven’s Nest offering the full 18.

The landing point for the course is the clubhouse on the east side of the region. Here, those wishing to play can join the local group (required, and needs a free in-world group slot). Once the group has been joined, players can obtain a disc and control HUD from the game vendor, and if they wish, a scorecard and game notes from the neighbouring givers. The HUD provides the means to play the game and also personalise both your disc and gameplay elements; however, if you prefer, it can be ignored and the game enjoyed directly through the disc itself.

Disc Golf: get your Frisbee into the basket

Note that once received, the disc must be worn while in close proximity to the vendor in order to activate it. Discs will remain valid for 24 hours after activation, so if you get interrupted in the middle of a round and as long as you return within that time, you can continue playing without having to re-start.

Each tee takes the form of a square, grey base,  the number of the hole on one side, indicating the direction towards the basket.The first tee is located on the deck at the back of the clubhouse. Baskets are quite low and can be a little hard to locate from a distance – so you may need to cam a little to spot some as you continue around the course.

Once at the tee for a hole, walk onto it and select your required club (generally the driver)  via the HUD (or by clicking your disc and selecting it from the dialogue). This will trigger a particle wind speed indicator alongside your avatar together with a direction of throw indicator itself.

Winding up for a throw

You can adjust your direction of throw to compensate for the wind by using the LEFT / RIGHT cursor keys (or A/D if you prefer); when you are ready to “throw” move the mouse pointer over the terrain or the tee base and press and hold down the left mouse button.

This will cause you avatar to prepare to throw your disc, and display a power indicator – the higher this gets, the more power will be applied to your “throw”. When you are ready, release the mouse button to “throw” your disc.

The flight of a disc is indicated by a line. By default, this is white, but you can use the colour button on  the HUD to select a preferred colour for it, your disc and the landing marker (handy if you part playing with friends).

The landing marker, a large arrow, indicates – as if the name doesn’t give it away 🙂 – where your disc landed. If you hover the mouse pointer over it, a teleport sit icon will be displayed, indicating you can teleport directly to the marker. Also, the colour button on the HUD allows you to toggle whether or not the marker, wind direction indicator, etc., are displayed.

Additional strokes are played the same way, with the ability to use the wedge for “chipping” up towards a basket when reasonably close to a basket and the putter when particularly close to it. Throughout it all your scorecard will track your shots and keep score, and when you’ve completed a round, you can return to the clubhouse and see if you’ve set a new course record.

My disc heads towards the basket (to the right of the tree, atop the old well)

Whilst playing, and if you use use an over-the-shoulder camera view by default, you might want to centre your camera up when playing to get an more accurate view of the ground pointer. Also, if you have double-click to teleport enabled, you might want to turn it off – an accidental click will have you routed back to the clubhouse – and be sure to avoid the local train (when it is running), which winds its way through the course!

I do have a couple of minor niggles: the holes are all par 3, no matter what their difficulty – which appears to be baked into the game;, unfortunately. Where this course is concerned, some of the signage could be clearer (it’s not obvious where the first tee is,  for example). However, this doesn’t overly interfere with things.

Playing a round of disc golf lets you discover the rest of The Raven’s Nest

Golf games are fairly common across SL, but disc golf is just that little bit different, and The aven’s Nest offering an interesting means to get to know the game, offering as it does the opportunity to explore the region whilst playing, maybe try out a little fishing afterwards, or simply sit and relax at the water’s edge. My thanks to Kali for the invitation.

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Isolation, self, and mood at Ribong Gallery, Second Life

Ribong Gallery Artspace: Confined Within Me

It’s been too long sine my last visit to Ribong Gallery Artspace, operated and curated by San (Santoshima) – so my apologies to her for this being the case.

Ribong is a gallery that offers extensive space for 2D and 3D arts, the individual display spaces separated by altitude, giving each a sense of individuality. They can also be reached either via direct LM, or for first-time visitors via the gallery’s lobby. Exhibitions within the spaces can be quite long-lasting (or possibly permanent); I actually reviewed Harbor Galaxy’s Alter Ego, available at Ribong 2535, in October 2019, and Bamboo Barnes’ Receding Reality at Ribong 2243 in September 2020.

Ribong Gallery Artspace: Confined Within Me

More recent to Ribong is Meiló Minotaur’s Confined Within Me, located at Ribong 903. While it is a more recent exhibit than those mentioned above, it nevertheless shares something of a common theme: that of introspection, the nature of self and reflections on identity, although its core theme is perhaps somewhat deeper and potentially darker.

Starting from a large room with a small poem printed on one wall, the installation leads visitors through a pattern of spaces that grow smaller in size, including narrow hallways. Within them are figures, partially embedded in walls, or lined between the narrowing walls, slumped, eyes or mouths covered, whilst further inside the installation the figures become more smoke-like or become themselves wreathed in black, apparently trying to pull themselves apart.

Ribong Gallery Artspace: Confined Within Me

The references to mental illness – depression, anxiety, depersonalisation-derealisation disorder (DPD), the sense of losing one’s own identity – losing oneself -, of being trapped within one’s life – all appear clear. Without the need for extensive exposition, but through simple representation and a six line poem that is itself incredibly powerful in its wording, Confined Within Me visualises a range of conditions that can be so debilitating to those who suffer from them, but so hard to put into words such that others might might understand.

It is an exhibition that is given additional poignancy at this time: With a global pandemic forcing people to keep apart, stay at home, avoid social contact, those caught in the web of mental illness can find their sense of separation even harder to endure, and made more visible through the need to wear face masks – something that may well be referenced by Confined Within Me through the mouth coverings worn by some of the figures (which also represent the sense of not being heard, just as the eye coverings represent the sense of not being seen.

Ribong Gallery Artspace: Silence is the Flower

Opening on Saturday March 20th at Ribong 1920 is Silence is the Flower, by Joss Floss, an exhibition of 2D art. Again, it shares something of a connection with the other three exhibitions, in that it explores communications and feelings, as noted in the artist’s statement on the images presented:

“Silence is the Flower” is a Japanese phrase roughly translated as “Some things are better left unsaid.” These pictures are about not saying and not showing.

– Joss Floss on Silence is the Flower

Ribong Gallery Artspace: Silence is the Flower

Spread across three levels (use the yellow teleport cubes to move between them), Silence presents a series of images in soft focus or which use depth of field in order to focus the eye on the flowers whilst keeping the figure (Joss) either out-of-focus or gently blurred, the idea being to allow the flowers and tone to offer the sense of mood and message within each piece.

What this might be is down to those observing each of the of the images presented here. What is clear is that the direct, unadorned method of presentation allows the eye to focus on each picture, allowing it so suggest its own story.

Ribong Gallery Artspace: Silence is the Flower

Whether taken individually or as part of a visit that also encompasses Alter Ego and Receding Reality, both Silence is the Flower and Confined Within Me offer two engaging exhibitions.

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VWBPE 2021: Grumpity, Patch, Brett and Madori Linden

VWBPE 2021

On Friday, March 19th, 2021 , the second of three sessions featuring Linden Lab staff took place at the 2021 Virtual Worlds Best Practice in Education (VWBPE) conference. Whilst the second session overall, this was actually the first of a double series entitled Reconnaissance with the Lab and took the shape of a round table discussion with from members of Linden Lab’s staff: Grumpity Linden, VP of Product, Brett Linden, VP of Marketing, Patch Linden, VP of Product Operations and Madori Linden, Product Specialist (Land Operations).

The following is a summary of the session covering the core topics raised. The notes provided have been taken directly from the official video of the session, which is embedded at the end of this article. Time stamps are also provided to the relevant points in the video for those who wish to listen to specific comments.

The focal point for the session were four questions, which form the topic headings in this summary:

  • What is Linden Lab excited about that will be of interest to educators and VWBPE community members?
  • What is the greatest concern about education in virtual environments like Second Life right now?
  • How can educators and the VWBPE community work with Linden Lab in creating and supporting vibrant and engaging learning environments?
  • What can educators and the VWBPE community look forward to in the next year?

Note: the second of these Reconnaissance discussions is summarised here.

The Attendees

Grumpity Linden heads up Second Life Product, where she has overseen a shift to growth, a stronger, more balanced economy, movement towards better community cohesion, and an overall forward-looking approach.

Prior to working for Linden Lab (first joining as a contractor in 2009 and then full-time in 2014), she was involved in a number of industries, including technology, higher education, and oil & gas. She enjoys exploring worlds both virtual and physical and takes pride in building bridges – personal and professional.

Grumpity holds a Master’s in Computer Science from Johns Hopkins University and a Bachelor’s from same in Computer Science & Psychology. She finds leading the Second Life product a joy because it allows her to draw on both areas of study.

Patch Linden is Vice President of Product Operations at Linden Lab where he works to bring the best of product and support decisions on a daily operational basis to the virtual world platform for Second Life. He also maintains oversight on how all of the various teams within Linden Lab can best work together for the highest good of the Residents and the business.

Patch started as a Resident in 2004 before joining Linden Lab in 2007. Prior to joining Linden Lab, he held leadership roles focused on customer service and product development where he always maintained a customer-first focus while striving to deliver best-in-class products and services. He has a deep passion for creativity and uses that to bring enjoyment to others. He continues to evolve his skills to include virtual worlds, 3D Design, 3D printing, modelling, photography and videography.

Grumpity, Patch, Brett and Madori (individual images via Linden Lab)

As VP of marketing, Brett Linden manages the team responsible for developing media campaigns and strategic content partnerships for Second Life. Together they focus on both the acquisition of new users and the retention of existing users for the virtual world. In the past decade, he has produced numerous virtual and “mixed reality” events and panels on various academic topics with an emphasis on legitimising and better surfacing the many cultures and communities within virtual environments.

From Rolling Stone to Billboard, Brett has also written for major publications and managed multimedia initiatives for Amazon.com and RealNetworks. He has co-founded numerous media sites on-line, including the Second Life Destination Guide and Rolling Stone Radio. As a co-founding editor at Billboard.com, he interviewed Stevie Wonder, David Bowie, Peter Gabriel, Shania Twain, and Bjork.

Madori Linden is a product specialist on the Land Operations team. Among other things , she works with educators and various types of specialty regions; from their inception and development to maintenance and support.

Her LBL (Life Before Linden) was a winding path to Second Life. She studied Socio Cultural Anthropology with a specialisation in fringe societies within techoology. The contacts made there led to a career in marketing and being the co-owner of an event production company Having children brought her back full circle to education. Second Life was the vehicle for all of those passions to merge.

She works towards making sure that #AVVILEARNING (avatar virtual learning) won’t be just an idea, but part of the future of learning.

What is Linden Lab excited about that will be of interest to educators and VWBPE community members?

[Video: 6:10-24:23]

  • Patch: the new energy the new ownership is putting in the platform and the investment on the table to take Second Life to new heights.
  • Grumpity:
    • Excited by completing the transition to Amazon Web Services (AWS) and the continuing work to optimise Second Life in it new environment.
    • Also the potential for the AWS environment to perhaps offer new products as the company moves forward.
    • The transition took several years to complete, consuming a lot of engineering effort, and it offers the potential to enhance the longevity of Second Life using the best hardware and infrastructure available.
  • Brett:
    • Also excited by the energy within LL that is being driven by the new board. Especially impressed by the way Brad Oberwager (board member and Executive Chairman) frames his thinking in a very customer-centric way (“Hows does this benefit the users? How does it benefit SL?”).
    • The ability to stream content into Second Life, as originally demonstrated in the Adult Swim streaming of episodes from The Shivering Truth in May 2020. This is a capability that has meaningful enterprise and educational applications
  • Madori: not so much excited by given the circumstances, but pleased in the way people have seen Second Life as a means to maintain contact while socially distanced. In this, the incoming new owners with their drive to grow the platform has been fortuitous.

What is the greatest concern about education in virtual environments like Second Life right now?

[Video: 14:13-22:11]

  • Patch: safety. Fortunately, SL has a lot of capabilities to help with this and keeping students safe. The foremost is the RegAPI capabilities, which can be used to create a dedicated on-boarding experience. This allows for elements such as custom name accounts, making identification easier, limiting the number of accounts an organisation is bringing into SL, deliver users directly to a defined in-world location. There’s also the ability to lock regions from being accessed by others and to prevent students leaving the learning spaces, etc.
  • Brett: not a concern, but what has been noticed is that some educators have noted that using second Life as a medium is less intrusive than expecting parents to put heir young children in front of a camera for remote schooling.
  • Grumpity: echoes Brett’s comments, noting that teenagers as well can feel exposed in having to face a camera and be observed by others in close details, whereas SL embodies a freer sense of presence, one that is perhaps more familiar to teenagers today, who have a lot more exposure to have an on-line presence, whilst also maintaining a sense of distance / privacy that can be important.

Questions Arising

Will there be a renewed push, with allocated staff support, for growth in Community Gateways featuring direct SL registration?

  • Madori: the support is already there. In fact, there is a new community gateway that started on Friday, March 19th.

Any thoughts to bring back something like TEEN Grid – where there was more protection for young folks?

  • Grumpity: Teen Grid doesn’t provide the same level of protection and unique features as found in the RegAPI capability.

Many students are using Chromebook and similar, which cannot easily run SL. Is this being addressed?

  • Grumpity: this is understood, and LL are looking to find a potential partner who can help achieve this [streaming solution], as well as internal efforts to being SL to mobile devices [e.g. tablets with keyboard input for a fuller educational experience]

How can educators and the VWBPE community work with Linden Lab in creating and supporting vibrant and engaging learning environments?

[Video: 24:38-36:42]

  • Madori: if you have specific ideas that may benefit SL – reach out to the Lab; it may be something that is feasible and could benefit the community as a whole. LL can better visualise needs by hearing about them.
  • Brett:
    • From a Marketing and communications aspect, is extremely interested in hearing about case studies, success stories and innovative uses of the platform that can both help promote the community concerned and demonstrate the relevance of SL.
    • Lab Gab is a potential opportunity for educators to tell their stories to the wider SL audience.
  • Grumpity:
    • Would be every interested in finding out more about the learning management tools educators use and what they are looking for in learning platforms and tools – although the volume that were suggested by the audience illustrates the problems in trying to offer a solution that will satisfy all needs.
    • Also wanted to mention the turnkey solutions LL have developed specifically for educators. These can be found at Explore Second Life.

Continue reading “VWBPE 2021: Grumpity, Patch, Brett and Madori Linden”

SL18B exhibitor applications are open

via Linden Lab

June 2021 will see Second Life officially “come of age” as it were, as the platform celebrates it’s 18th anniversary of opening to public access.

Eighteen is generally acknowledged as the age of shedding minority status and of (if only in a legal sense in) reaching adulthood, as such this year’s Second Life Birthday (SLB) celebrations will likely acknowledge this in some way or ways – although we’ll have to wait to find out exactly how.

SL18B will run from Thursday, June 17th through until Thursday, July 1st, and Linden Lab officially opened exhibitor applications on Friday, March 19th. The theme for this year’s celebrations is simply given as “Hidden Worlds”, with the Lab noting:

Your exhibit does not need to stay in theme. If you are inspired by the thought of the hidden worlds around you, show us! Or, share your Second Life passions with us. Your interests. Your communities. Your worlds! Every year we celebrate because of you, the amazing and creative Residents, who have chosen to call Second Life home. What has drawn you into this world and what keeps you here? This year at the eighteenth annual Second Life Birthday, show us what fuels your Second Life and inspires you. Let’s go exploring!

Those who are interested in exhibiting at SL18B are asked to read, complete and submit the official exhibitor application form, which includes this year’s Exhibitor Rules. Note that the closing date for applications is Friday, May 28th.

Music Fest

A reminder that performers interested in participating in this year’s SLB music Fest, which will form the opener to the SL18B celebrations and take place between Thursday June 17th and Saturday June 19th inclusive, can still apply to be considered.

The Lab is seeking at least a dozen performers, both veteran Second Life musicians and those new to the scene, to provide the music for the festival, and full details on requirements / policies can be found in the Music Fest application form. But if you do plan to apply, remember, applications will close on Sunday, March 28th!

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2021 CCUG and TPV Developer meetings week #11 summary

Osta Nimosa – blog post

The following notes were taken from my audio recording and chat log of the Content Creation User Group (CCUG) meeting held on Thursday, March 18th 2021 at 13:00 SLT, and Pantera’s video recording of the TPV Developer’s meeting of Friday, March 19th, a copy of which is embedded at the end of this article.

These meetings are chaired by Vir Linden, with dates available via the SL Public Calendar. The venue for the CCUG is the Hippotropolis camp fire, and the TPV Developer meeting is held at the Hippotropolis Theatre.

SL Viewer

There have been no changes to the current pipeline of SL viewers since the update to the Key Mappings viewer at the start of the week. This leaves the pipelines as follows:

  • Release viewer: version 6.4.13.555567 (Jelly Doll improvements) originally promoted February 17th.
  • Release channel cohorts:
    • Custom Key Mappings project viewer, version 6.4.17.556726, dated March 15.
    • Maintenance RC viewer – Eau de Vie, version 6.4.14.556149, dated March 4.
    • Love Me Render (LMR) 5 project viewer, version 6.4.14.556118, dated 23, 2021.
  • Project viewers:
    • Legacy Profiles viewer, version 6.4.11.550519, dated October 26.
    • Copy / Paste viewer, version 6.3.5.533365, dated December 9, 2019.
    • Project Muscadine (Animesh follow-on) project viewer, version 6.4.0.532999, dated November 22, 2019.
    • 360 Snapshot project viewer, version 6.2.4.529111, dated July 16, 2019.

Viewer Status

  • The Simple Cache viewer is being updated and will re-enter circulation as a new RC viewer. Depending on the outcome of further testing this man or may not be the next viewer promoted to release status.
  • The other RC viewer with the potential to be promoted is the Key Mappings Viewer.
  • LMR 5 has encountered some additional crash issues  centred on Intel GPU drivers, and so is unlikely to be in line for promotion at present.

Graphics Work

The graphic team is addressing bugs relating to lighting underwater and to the Moon haze. This work, together with the LMR 5 issues mean Euclid Linden’s work to separate out UI rendering from scene rendering is currently on hold.

ARCTan

Summary: An attempt to re-evaluate object and avatar rendering costs to make them more reflective of the actual impact of rendering either in the viewer. The overall aim is to try to correct some inherent negative incentives for creating optimised content (e.g. with regards to generating LOD models with mesh), and to update the calculations to reflect current resource constraints, rather than basing them on outdated constraints (e.g. graphics systems, network capabilities, etc).

As of January 2020 ARCTan has effectively been split between viewer renderings focused on revising the Avatar Rendering Cost (ARC) calculations and providing additional viewer UI so that people can better visibility and control to seeing complexity. This will be followed in the future by work on providing in-world object rendering costs (LOD models, etc.) which might affect Land Impact will be handled as a later tranche of project work, after the avatar work.

This project has reached a point where consideration needs to be given to how performance controls that can leverage the avatar-related ARCTan data can be implemented. However, this work is waiting on Steeltoe Linden.

In Brief

  • There was more general discussion on improved avatar scaling  – uniform / proportional scaling, etc. However, as has been pointed out in the past, the general design of the avatar skeleton, coupled with the morphing capabilities (sliders) do not make uniform scaling easy to implement.
    • One of the calls for making such scaling possible is to allow users scale down their avatars so that regions feel much “bigger”  and thus can present larger settings. However, this view ignores the fact that there are other practical constraints on the region and the underpinning simulator that mean just because avatars are smaller, “more” can be packed into a given space.
  • The majority of the meeting was general spitballing on options for revising the avatar per above, requests to implement Marvelous Designer, providing morph targets, and so on. However, none of the chat related to projects the Lab are currently working on or plan to implement in the foreseeable future.
  • The TPV Developer meeting amounted to some 6 minutes of discussion, ergo no timestamps to the video.

Date of Next Meetings

  • Content Creation: Thursday, April 1st, 2021.
  • TPVD: Friday, April 2nd, 20221.

Return to Sheepville in Second Life

Sheepville, March 2021

Update, March 15th: Mickey contacted me to let me know that after eight years and now retired, he has had to let Sheepville go, and he has downsized to a half Homestead. For further details, see: A Trip to Seagull Rock in Second Life

This blog has been in its current iteration “Living in a Modemworld” for nigh-on 12 years, and during some PC housecleaning related to it, I surprised myself by realising that in that time I’ve actually visited and written about 968 unique public locations in Second Life as a part of my Exploring Second Life Series, for a total of 1,334 articles (given I’ve visited certain places more than once).

Many of these articles relate to private regions that can remain for years as a time, undergoing seasonal changes and complete re-dressing, encouraging multiple re-visits. Others are more temporal, perhaps lasting only a modest handful of months at most. Some, however, endure, marking the passing of the years with smaller scale changes that allow them to retain their core looks and setting.

Sheepville, March 2021

One of the latter is Micky Woodget’s Sheepville, a place I originally visited way back in 2013. It’s relocated since then, but I’m pleased to say that a visit Caitlyn and I made to it earlier in their year reveals it has not lost any of its unique charm, nor its curious mixing of eras.

The landing point is located in the village of Sheepville, a place that feels as if it stands at the confluence of strands of time. In looks, it resembles a small English village that has witnessed the passage of the centuries. The buildings are distinctively Tudor in style (although referred to as medieval). Nothing unusual in this, to be sure. However the local populace are presented in clothing that in places seems to be rooted in medieval times and in others has a distinctly Victorian lean. Meanwhile, the local pubs appear to brace a modern era, with their respective outdoor seating and the promise of fish and chips at a very modern price.

Sheepville, March 2021

Thus, wandering around the village’s cobbled square, rich in the colour of spring / summer flowers, it is possible to feel as if you’re moving between historical periods simply by stepping into our out of a shop or building, as if the generations of history here have all become entwined in a single period instant of time. Is this the result of a natural phenomena, or the mischievous intervention of the leprechaun-like characters in St. Patrick’s green who are dotted around the setting? That’s up to you to decide – but the fact is, this mix of periods as subtle and works, giving the village an added layer of charm.

Just beyond the village is a small lake where canoes can be taken out on the water – one of a number of activities available in the region for people to enjoy. Both it and the village are overlooked by a large Norman / Tudor castle sitting atop the highlands to the north-east. This offers a clear destination for explorers, and has an interesting amount to see within, complete with a hint of Arthurian legend, as well as clear references to the Tudor era.

Sheepville, March 2021

Paths and tracks run outwards from the village, offering routes around the region and up to the castle. These pass by outlying houses and cabins, as least one of which appears to be a private home, and the others may be available for rent (the use to be the case with Sheepville in the past, although we found no evidence it still is). So do be aware of the potential for trespass where these are furnished.

One of the charms about Sheepville is that while it makes use of mesh, it has about it a nostalgic feel of being “classic” Second Life. This is in part due the presence of the prim-style puppets that inhabit the village and the design of various elements used to dress the setting, such as the log benches found throughout, some of which retain the use of pose balls (with other poseballs scattered around the region). All of this further assists the sensation that Sheepville is a place genuinely caught in time.

Sheepville, March 2021

In the eight years since my original visit to Sheepville, the setting has changed in a gentle manner that allows it to retain its core looks. It offers a gentle place to explore, complete with its own little quirks within a rural, semi-pastoral setting. In this it is remains an engaging place to visit.

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