La Masion d’Aneli: Nessuno Myoo – As Mammoths In the Middle Of Butterflies
Having opened on April 6th, 2022, Kicca Igaly and Nessuno Myoo present two intriguing installations at La Maison d’Aneli (curated by Aneli Abeyante) that stand a both individual pieces and as installations that might – in the mind of the visitor – also be intertwined in terms of theme and potential interpretation.
Before getting to the exhibits – both of which can be reached from the teleport disc at the gallery’s ground-level landing point – please note that to appreciate these installations fully, yo should ensure Advanced Lighting Model (ALM) is enabled and render quality is set to High (if your system can handle it) – both set through Preferences → Graphics, and that the viewer is also set to use the Shared Environment.
La Masion d’Aneli: Kicca Igaly – Pulsions
Within Pulsions, Kicca explores the idea that the human condition – the lives we lead and how we interact – is propelled by the decisions we make individually and collectively; pulsion itself being the act of driving forward (as opposed to being drawn forward involuntarily as a result of influences over which we have no direct control).
Within the setting, we are presented by scenes of everyday life: mothers with their children sharing a conversation; children at play, a mother and daughter passing a (presumably) homeless man asleep on a park bench; a tall man watching the children at play, and so on. Over the shoulders of each character float two little figures – their better angels (or positive pulsions) and darker demons (or negative pulsions) that drive their behaviour – whether or not a group conversation descends into gossip and rumour-spreading; whether a discussion remains calm and reasoned or descends into a heated, angry exchange; whether a game played remains friendly and fun or embroiled in bitterness on losing, and so on. By using the term pulsion, Kicca reminds us that the negative choices we make may not always be driven by a need to hurt or upset and so are not necessarily “evil” or “cruel” – although the tall figure watching the two youngsters also perhaps reminds us there can be intentional evil driving the decisions some make…
La Masion d’Aneli: Kicca Igaly – Pulsions
Within As Mammoths In The Middle Of Butterflies, Nessuno presents a single, stunning sculpture of the skeletal forms of two mammoths of unequal size apparently locked in combat, the smaller forced down onto its rear hunches and attempted to ward off a blow from the foreleg of the larger as it rears up on its hind legs in order to deliver the blow with greater force. Around both rises a cloud of butterflies, their peace and innocence shattered by the warring beasts.
Quite what we make of this is left entirely open to interpretation, the artist only stating At the sunset of existence, immersed in the wonder of its own nature. Thus, how we respond to the piece is entirely subjective. For my part, the use of mammoths (now long extinct) and the term “sunset of existence” suggests the piece can – and as with Kicca’s Pulsions – be taken on a statement about the human condition.
As Mammoths In The Middle Of Butterflies
That we are, for example, so polarised in views on subjects such as global warming and so focused on arguing about it, we cannot pause to address the fact that we really are disrupting the global ecosystem and hastening our own demise. Other might see it as a commentary on the the danger of the old truism “might is right”, that some countries have grown so arrogant in their own superiority and might, they care little about the manner in which the decisions they make can have shattering and disruptive impacts on others.
But rather than add further subjective thoughts of my own here, I’ll leave it to the sculpture to express itself to you. All I’ll say in closing is that once again, Kicca and Nessuno present two installations that engage both the eye and the mind.
Crew Dragon Endeavour docked with the forward port on the US Harmony module at the ISS, and bearing the Axiom logo. Credit: NASA
The first entirely private sector mission to the International Space Station (ISS) lifted-off from the SpaceX Falcon launch facilities at Pad 39A, Kennedy Space Centre (KSC) on Friday April 8th, 2022, carrying a crew of four to the station aboard the Crew Dragon vehicle Endeavour.
The launch took place at 16:17 UTC, with the Falcon 9’s first stage making a flawless ascent prior to upper stage separation, then completing a boost-back manoeuvre and a successful return to Earth to land on one of the SpaceX autonomous drone ships. It marked the 5th successful flight for the core stage, which coincidentally was the same stage that launched the first all-private mission to Earth orbit – Inspiration4 (see: Space Sunday: Inspiration4 and Chinese flights) in September 2021.
Ax-1 has been seen by some as just another jolly jaunt into space by those who can afford it; however and in fairness, it is slightly more than that. Axiom Space was founded to create the world’s first commercial space station. While others have since entered this arena, Axiom has been granted access to the forward port of the ISS’ Harmony module, to which Axiom plans to dock the Axiom Orbital Segment; a complex that could grow to five pressurised modules after 2024.
Axiom’s plans for their space station (click for full size). Credit; Axiom Space
In order to help finance their plans, Axiom plan to offer a series of fare-paying flights to the ISS, with the 8-10 day Ax-1 being the first. However as a part of these flights, those paying for seats will also help Axiom pave the way towards their goal in bringing their first module to the ISS in 2024 and carry out a suite of selected on-orbit studies and experiments.
Commanding the mission is Michael López-Alegría, who was one of NASA’s most experienced astronauts prior to retiring in 2012. He holds the US record for the most EVAs undertaken by a NASA astronaut (10 totalling 67 hours and 40 minutes) and is also (and quite separately) licensed to officiate at wedding ceremonies. In 2017, he joined Axiom Space as their director of Business Development, and allowing him to regain his space flight status. Joining him on the mission are US entrepreneur Larry Connor, Israeli businessman and former fighter pilot Eytan Stibbe and Canadian philanthropist and businessman Mark Pathy, each of whom paid an estimated US $55 million to join the mission.
The Ax-1 crew: from left – Larry Connor Mark Pathy Michael López-Alegría and Mark Pathy. Credit: Axiom Space / SpaceXEndeavour took a gentle path up to the space station over a 20 hour flight; however, docking was delayed by some 45 minutes due to an issue with the video system used by the ISS crew to monitor docking operations.
Following post-docking checks, the hatches between Endeavour and the ISS were opened, and the Ax-1 team were welcomed aboard the station by the 7-person crew. During a brief ceremony-come-video press briefing, López-Alegría – who had become the first former astronaut to return to the ISS – presented his three fellow crew members with astronaut pins. Whilst not official US astronaut pins, those presented to Stibbe, Connors and Pathy have been designed by the Association of Space Explorers, which encompasses a lot of members from 38 different countries that have flown astronauts.
Alongside of their work in support of Axiom Space, the Ax-1 crew will take part in a multi-discipline science programme of some 25 different research experiments sponsored by the ISS U.S. National Laboratory in collaboration with the Mayo Clinic, the Cleveland Clinic, Canadian Space Agency, Montreal Children’s Hospital, Ramon Foundation (named for Ilan Ramon, the Israeli astronaut killed in the Space Shuttle Columbia disaster of 2003) and Israel Space Agency.
The Axiom Ax-1 crew (to the rear) with their ISS colleagues, around them in the foreground – counter-clockwise from right: NASA astronaut Tom Marshburn (holding the microphone) ; Roscosmos cosmonaut Oleg Artemyev (in the blue, centre); NASA astronaut Kayla Barron; cosmonauts Sergey Korsakov and Denis Matveev (floating); and upside down NASA astronauts Raja Chari and ESA astronaut Matthias Maurer. Credit: NASA
As a fully private mission to the ISS, Ax-1 not only features a non-government crew launched aboard a private sector space vehicle and rocket, it is also being managed through the SpaceX flight control centre, Hawthorne, California and Axiom’s own mission control centre in Houston, Texas.
Artemis WDR: Further Issues and Delay
The Wet Dress Rehearsal for the Artemis 1 Space Launch System (SLS) vehicle at KSC’s Pad 39B continues to hit niggling problems, with a resumption of testing now pushed back until April 12th.
As I noted in my previous Space Sunday report, while it had been hoped this full test of a launch countdown procedure, including fuelling the massive rocket’s liquid propellant tanks, could be completed in a 3-day period between April 1st and April 3rd, the test ran into a series of issues that caused efforts to be scrubbed on two occasions.
The issues were now with the rocket itself, which performed flawless during the tests up until the scrubs were each called, but with support systems within the vehicle’s mobile launch tower. However, after the second set of issues on April 3rd caused a scrub, the plan had been to investigate and correct the issue in time to resume the countdown on April 4th and complete the tests ahead of the launch of the SpaceX / Axiom Ax-1 mission reported above – a launch that had already been postponed from April 3rd.
Artemis 1 and its mobile launch platform on Pad 39B at Kennedy Space Centre. Credit: NASA
As the investigations took longer than planned, on April 4th, the decision was taken to stand down WDR operations to allow the Ax-1 to go ahead, and to resume the tests on April 9th. But on April 7th, during a check on the rocket’s systems, engineers found a problem when trying to maintain helium purge pressure in the Interim Cryogenic Propulsion Stage (ICPS), the upper stage of the rocket itself.
The ICPS is based on the second stage of the Delta 4 launch vehicle. It uses a single RL10 engine to propelled the payload carrying section of the rocket – although it will be replaced by the more powerful and purpose-built Exploration Upper Stage from the third SLS flight (Artemis 4) onwards. This particular ICPS was one of the first to be completed, and had been in storage for several years awaiting the completion of the Artemis 1 core stage and boosters.
The Artemis 1 ICPS at Kennedy Space Centre, prior to its integration with the rest of the SLS rocket. Credit: NASA
The issue was traced to a check valve intended to prevent helium – used to purge propellant lines and drain propellant – from escaping the rocket., the valve failing to function as intended. To allow time for a possible fix for the problem to be developed and attempted, the decision was taken to push test resumption by to April 12th. Unfortunately, by April 9th, it became clear that the valve would need to be replaced; but rather than cancel the WDR completely, NASA has decided to complete the test as planned on the 12th – but to only perform a “minimum fill” of the ICPS tanks; enough to prove the propellant loading system works. This, with a full load of the core stage tanks is seen as sufficient for the WDR to be completed.
Replacing the check valve will be carried out once the rocket has been returned to KSC’s Vehicle Assembly Building as a part of the post-WDR checks. However, this means that any chance of Artemis 1 making the hoped-for May launch window is now out of the question, whilst NASA is confident replacing the valve will correct the issue, it is also unlikely the turn-around can be completed in time for the rocket to make the June 6th through 16th launch window, potentially making July the earliest Artemis 1 launch opportunity.
Whimberly, April 2022 – click any image for the full size
It’s been some 18 months since I last dropped into Whimberly, the homestead region held by Staubi Reilig (Engelsstaub), so given the fact the last time I visited it was in the autumn of 2020 and we’re now in springtime, I thought I should hop back and have a wander once more.
Once again, the region sits within a ring of mountains and offers a mix of gentle lowlands and rugged low hills. To the north-east the lowlands hold a broad meadow, rich in yellow alirium, ringed by a dirt track. It sits as the widest point of the island, the rest of the landscape curled around a finger of water that reached inward to its centre.
Whimberly, April 2022
Waterfalls tumble from some of the higher ground to the east into what may have once been a pool of water all on is own, but which has broken out to the south and north to meet waters that may have once been a deep inlet to the west, to leave the centre of the region as a slender ribbon of land reached by a pair of humpbacked bridges.
South and west, the landscape forms the more rugged parts of the setting, a path climbing away from the landing point and the field to run over the top of the waterfalls to pass a hilltop cabin before dipping down to a roll through a bowl of land to either reach a watery terrace below the cabin, or offer a route on south around the region, both paths watched over by deer.
Whimberly, April 2022
Take the path on around the southern side of the land, and it will eventually bring you to another cabin sitting at the end of a tree-lined walk. But before getting to it, there is the option to take a right run and cross the waters via one of the dainty bridges and reach the middle island. Here people can enjoy tea on a deck extended out over the water or cuddle in the neighbouring rowing boat, or pass on a little further to where a more formal picnic can be enjoyed, together with time on the swings behind the blanket – just don’t upset the rabbits!
A second bridge allows people to cross back to the north-east finger of hills that border the field and landing point, offering a coastal walk to where the region’s “land office” is tucked away, complete with coffee on offer outside and a path back to the field and the landing point.
Whimberly, April 2022
The cabin to the south-west is perhaps the most substantial building in the setting, being a mix of stone and wood. One of Cory Edo’s distinctive designs, it looks out to the west and a shingle-and-rock beach that has a small bay of its own as the land runs northward once more between open waters and those flowing outwards from the middle of the region.
Both of the main cabins are cosily furnished for those looking for a temporary retreat and sit-down / cuddle, each with its own outdoor spaces – the watery terrace notes earlier and, for the southern cabin, a little coastal area below the house, complete with a pair of chairs for enjoying the view.
Whimberly, April 2022
Those who continue north along the peninsula extending away from the southern cabin will find another place to sit out on a little boat moored next to a rickety pier and beyond it, through a cut between two rugged hills, a little hut set out for fishing (which a little chipmunk appears to be enjoying!) and a chance for some hearty stew or some eggs whilst appreciating the view back over the water to the slender middle island.
As ever, Whimberly is again rich in details awaiting discovery, with lots of opportunities for photography, all rounded-out by a super soundscape. It thus retains its reputation as once of SL’s ever-popular public regions in which to spend time.
Ruben’s Art Gallery: Mareea Farrasco – Visiting Salt Lakes of Florence
Following my review of Landscapes – My Personal View, by Alexa Wulfe (Alexa Bouras) – see Alexa’s personal view of Second Life – I was contacted by Ruben (yvan Slade), who offered my an invitation to visit the gallery he operates and curates, and which is currently host to two very different exhibitions.
Ruben’s Art Gallery is located on its own sky platform. The gallery sits within a model, clean concrete structure with two levels and a walled courtyard outside. Both levels of the gallery offer the same amount of exhibition space and are linked via teleport disks, allowing them to exist as independent display spaces with easy access from one to the other. At the time of my visit the gallery was playing host to exhibitions by Mareea Farrasco and Zia Sophia (Zia Branner).
Ruben’s Art Gallery: Mareea Farrasco – Visiting Salt Lakes of Florence
Visiting Salt Lakes of Florence is a series of twelve images captured by Mareea of Gnaaah Xeltentat’s Florence region, which at the time Mareena capture it lay as a setting inspired by the Salin d’Aigues-Mortes (salts of Aigues-Mortes), Camargue, in the south of France, as interpreted by the talented Iska (sablina), assisted by Tippah.
As I noted in The pink salt lakes Of Florence in Second Life, the region is remarkable in the manner in which it captures the spirit and look of its namesake – and Mareea has fully captured the beauty of the region in these images that have been gently post-processed in order to give them the look and feel of watercolour paintings. Most of the images present the landscape of the region, although several offer a more personal look through the inclusion of Mareea’s avatar (and those of friends / others).
Ruben’s Art Gallery: Zia Sophia
On the upper floor, Zia also presents a total of 12 images, although these are drawn from the physical world, being copies of Zia’s fascinating paintings. Four of them are Zia’s coastal and sea views that have been features in some of her recent SL exhibitions and the remaining eight copies of her natural abstract paintings that are, as ever, rich an form and colour.
Both artists are very different in their choice of art – both are united in their eye for colour, tone, and mood, allowing these two exhibitions to stand individually whilst also richly complimenting one another. And for those who enjoy Zia’s work, a gift can be obtained via the artist’s easel within her exhibit.
Ruben’s Art Gallery: Zia Sophia
I’m not sure how long art displays run for at Ruben’s, but at Mareea’s opened in mid-March, I would recommend visiting sooner rather than later, just in case a case of artist is on the horizon.
My audio recording and chat log of the Content Creation User Group (CCUG) meeting held on Thursday, April 7th 2022 at 13:00 SLT.
The video recording by Pantera (embedded at the end of this piece, my thanks to her as always for recording the meetings) from the Third-Party Viewer Developer (TPVD) meeting on Friday, April 8th, 2022 at 13:00 SLT.
These meetings are chaired by Vir Linden, and their respective dates and times can be obtained from the SL Public Calendar.
This is a summary of the key topics discussed in each meeting and is not intended to be a full transcript of either. However, the video does provide a complete recording of the TPVD meeting, and timestamps to the relevant points within it are included in the notes below.
MFA RC viewer, update to version 6.5.4.569725, on March 24.
Performance Improvements RC viewer version 6.6.0.569349, dated March 14.
Lao-Lao Maintenance RC viewer, version 6.5.4.569191, issued on March 11.
Project viewers:
Performance Floater project viewer, version 6.5.4.569531, March 18.
Mesh Optimizer project viewer, version 6.5.2.566858, dated January 5, issued after January 10.
Legacy Profiles viewer, version 6.4.11.550519, dated October 26, 2020.
Copy / Paste viewer, version 6.3.5.533365, dated December 9, 2019.
General Viewer Notes
The focus is on fixing the bugs reported on the Performance Improvements RC viewer so that it can be the next viewer promoted to de facto release status. The RC version has been updated but has yet to be issued.
[Video: 30:53-31:55] This viewer also includes a fix for handling object occlusion.
The Performance Floater project viewer includes the auto-FPS capability that is similar in nature to Firestorm’s Auto Tune capability designed to help maintain a given viewer frame rate (see here for more), and the aim is to try to sync these two approaches up before the Lab’s viewer moves to RC status.
The server-side work required for the Legacy Profiles viewer had been deployed, so that viewer should be updated and appearing soon.
Providing the ability to import a glTF file with is single material within it containing all the textures / maps and colour parameters for a given face. Exactly which maps (normal, specular, emissive, roughness, albedo, occlusion, etc.) is still being defined.
When uploaded, the material then becomes an inventory asset.
When the asset is applied to the face of an object, it overrides the texture parameters for that face (diffuse, normal spec maps, full bright, etc.), with the options to edit these parameters in the Build / Edit tool disabled until such time as the material is removed from that face.
However, the face-related options – rotation, repeats per metre, offsets, etc., – would remain accessible.
This approach would faces to be textured under the existing system and have a materials asset applied so that viewers without the new materials code would render the “legacy” texture parameters for the object face, whilst viewers with the updated code would render the settings specified by material.
What is the benefit of this?
It moves SL towards proper support for PBR and the improvements that will bring.
Very simply put from an end-user perspective: it will help add depth to Second Life by improving the way surfaces appear be giving them improved surface texturing, reflectivity, and so on; and it will no longer require end-users fiddling around with textures and normal / specular maps to achieve something; they’ll have a simple asset they apply to (say) a wall, and that’s it.
The first pass of this work will provide support for Adobe Substance 3D Painter, and as such, LL are looking for feedback from creators who use Substance Painter in terms of how they use it, what kind of materials they are creating, and how they would like those materials represented in Second Life, what maps they would ideally like to see supported.
A concern raised with this approach is that glTF does not natively support non-PBR workflows, which is a problem for those who use Substance Painter “non-PBR” (such as clothing creators), and this needs to be taken into consideration.
One route around this is the suggestion that the materials actually be built at import time, rather than just built within Substance Painter and exported to glTF for import.
It was requested that some form of UI element should be added to the viewer to allow material assets to at least be inspected. While this is something that will be provided, it will not be in the first phase of the work.
Rendering for these “new” materials will be entirely separate to the existing rendering path for SL’s existing materials system, allowing for a more “industry standard” approach to be used with the new materials.
Whether or not a fee is to be charged for importing these materials is still TBD (and somewhat complex, if the importer is to support using texture files previously uploaded to SL, rather than having to import them again).
Longer-term the idea is at when PBR support is added, it will only work with these material assets; texture entries will continue to be handed as they are now (as noted above).
PBR itself is a complex issue both technically and in terms of content, and it is already envisaged that it will give rise to differing environments in-world (e.g. locations that are “PBR enabled” and require people to be running viewers capable of supporting PBR).
This is because SL content being what it is, there is no easy way to “PBR-ify” it all, and gain a uniform (or even desirable) result – particularly where content has been designed under the existing rendering capabilities to produce a specific result.
Given the complexities / impact of such a project, LL recognises there is a need to provide the means for ongoing real-time exchange of ideas / gathering creator input.
Neither the CCUG nor the SL forums are seen as a good fit for this kind of interaction.
The preferred option voiced in the meeting was to use Discord as a host. Server details TBD at this time, if this is selected.
From the TPVD Meeting
[Video: 4:41-9:10] It has been pointed out the 30-day validity period for an MFA token seems unusually long, and a request has been made to reduce it.
In particular, testing the MFA code and token refresh when looking at the viewer code is more difficult when the tester has to wait a month between tests and checks / retries.
[Video: 11:54-20:10] Beq Janus and Vaalith Jinn are working on “temp mesh” – a means to preview mesh and rigged mesh in-world without necessarily having to log to the Beta grid and upload there. As per the video, there are some issues (such as the temporary creation of linksets), but overall it is hoped with work will result in a usable capability.
This conversation folds into itself a broader discussion on purely viewer-side rendering (as opposed to rendering asset data coming via the CDN)
[Video: 20:12-25:16] Bandwidth setting confusion: A claim was made the turning up the official viewer’s network bandwidth setting improves texture download speeds for those on faster Internet connections, prompting a request for the default setting being turned up.
Given that the network bandwidth setting is supposedly only for UDP messaging, and all assets, including textures, are transmitted via HTTP via CDN(s), some understandable doubt was cast on this.
While not ruling out changing the bandwidth setting causing a degree of improvement, Runitai’s thoughts on the matter (through looking at the code) fall into two areas:
Any actual delay in texture fetching is more likely to be with some of the background thread handling which has yet to be updated.
It is more likely that issues in texture loading / handling may be related to a number of issues, including a) the viewer mistakenly believing it is running out of VRAM (due to some coding errors) and immediately loading / unloading textures on the background threats; b) changes in how texture are actually downloaded and passed to the decode thread as a result of the move to HTTP that may be having an impact.
[Video: 28:53-29:35] In respect of this last bullet point above, it was indicated that TPVs tend to handle texture decoding, etc., somewhat differently, this is not believed to be an issue. A request has been made for a TPV to consider making a code contribution on this, so that LL can investigate making similar changes.
[Video: 32:53-44:20] Further discussion on texture fetching and the way the viewer code is generally conservative in this area.
[Video: 36:41-41:28] (overlapping with the above)] there is a restatement of the concern that raising the UDP bandwidth setting “because higher is better” could trigger a microburst buffer overrun on the server-side routers were the setting to be raised across all viewers. It is believed the servers are fairly well protected, but this needs to be confirmed by the infrastructure team before any such change is made.
[Video: 25:55-30:48] VRAM detection / use: changes are being tested (on Windows at present) whereby rather than setting a minimum default for VRAM (512 MB, a long-time sticking point for many users), LL are shifting to having the viewer query the operating system as to how much VRAM is free.
As an example of the potential improvement this has given, a system with 10 GB VRAM will see the viewer use as much of that VRAM as is available, whereas previously, the viewer would get up to using around 1.5 GB and then switch to texture paging.
Finding a similar solution for Mac system is somewhat more difficult due to the fact the only reliable report OS X provides is on the amount of installed VRAM, not how much may actually be available for an application to use / how much a process is using.
[Video: 45:14-47:16] does increasing the bandwidth setting improve teleporting between region?
Anecdotally, this appears to be the case for some.
However, whether there is a direct correlation between increasing the UDP bandwidth and inter-region TPs improving is hard to prove, although it is possible a message packet related to TPs is hitting the throttle and getting dropped without any attempted re-try.
[Video: 49:11-54:43] custom chat ranges: server-side support for extending chat ranges within regions beyond the default 20 metres (seen as useful for venues hosting meetings, presentations, etc.), was deployed some time ago, but is currently only available on Linden-controlled regions.
Wider availability of the capability has hit some privacy concerns (e.g. people believing their chat is limited to 20m in a public region being overheard by someone on the other side of the region). As such, the capability is awaiting viewer-side updates that make it clear to people entering regions where the chat range has been extended that this is the case.
This information is actually being sent to the viewer (RegionInfo in the RegionInfo 5 block), but the IU to handle it has yet to be added (and TPVs may not have been aware of its availability so they could create their own notifications).
Where the soft breeze of the sea wind touches your face, where you smell the fruits of the trees. Where in the evening the flowers spread their smell, where life is simple and slow, and your glass of wine always filled.
– From Lemon Trees Mediterranean About Land
So reads the description for Lemon Trees Mediterranean, a Homestead region design by Lian (LiandavK) that I’ve hopped into a couple of times over the course of the last month or so, and have finally managed to sit down and write about.
Lemon Trees Mediterranean
As the name suggests, this a public setting with a lean towards the Mediterranean, although it is distinctly a place of two halves. Lemon Trees Mediterranean refers to what might be regarded as the main part of the setting, offering a high landing point amidst aged ruins on a plateau top, with a pair of villas sitting below it, reached by a long stairway that descends the finger of a hill pointing south.
The first of the villas sits bounded on two sides by water, one of which is actually a bay that cuts into the landscape. The villa, with bell frame raised to one end, has the look of a converted chapel about it; a long, single-floored building with what might have once been the priest’s room alongside. Now it forms a simple house, the courtyard outside given over to a place for music and dancing, the far end of which forms an open-roofed bar.
Lemon Trees Mediterranean
The second villa sits half way up the hill, tucked into two shoulder of rock, one of which forms the base of the landing point plateau. It is more suggestive of a private home (but one open to the public rather than an actual private residence), with a light snack set out on the table on the terrace, the house simply but comfortably furnished. Modest rows of vines are growing on the slopes below it, suggesting this is a working home, whoever occupies it taking the time to produce their own wine – so perhaps the bar at the second villa is their means of selling their produce to any visitors who drop by.
Both villas have views to the south and east, the latter looking out over the waters to where the sea has carved the rocks of a ribbon islands, and the view more directly sough looking over the bay to the southern end of the region.
Lemon Trees Spa
This southern end of the region can be reached via a tree-shaded path that runs due south from the steps leading down from the landing point. It sits as a somewhat different location to the villas, being set out as a spa complete with its own landing point bounded on three sides by coastal waters. Most immediately facing the walk leading to it is the main swimming pool, its waters warm and inviting, wooden decking stretching out from one side around an aged tree to form a place set for music and barbecues.
Beyond the pool, and setting between it and the southern beach, sits the main spa building, complete with further decks on its beachward side. The building offers a mix of environments: the main section providing lounges, a bar and dance floor; the smaller section presents what appear to be private bedrooms / treatment rooms.
Lemon Trees Spa
This is an interesting setting in that the spa area is signed in different places as “PG” and “Adult”, although the region itself is Moderate. As such, the signage may appear to run counter to Second Life maturity ratings, but it is intended to give fair warning that some of the furnishings to be found within the smaller section of the spa building and out on the south deck include Adult animations and poses. The spa also has its own group (free to join), but this doesn’t appear to be a requirement for access to any of the areas within it, or to the “Group Access” elements of one of the sets of teleport discs found throughout the setting.
There are also various activities available as the spa – the smaller of the two swimming pools has poses (including dives into the water), there is a sign that can be touched for swimming in the Linden water, a jet ski rezzer. All of which add to the spa setting. For those who want a little more privacy, the north-west corner of the island offers a secluded sing sitting over a rapidly flowing stream that drops away from the local waterfalls.
Lemon Trees Mediterranean
All of which makes for an engaging visit with some excellent opportunities for fun and photography.
Inara Pey: Living in a Modemworld 