It’s been a while since I’ve had the pleasure of reviewing a product by Ape Piaggio, so it was with a sense of expectation and curiosity – Ape’s products have never disappointed – I received the WALT (Water, Air, Land Technologies) Jet Board a few weeks back for a sort-of final evaluation (others had done a lot more work than I in helping Ape bring it to market). And the expectation proved justified.
A jet board is essentially a short surfboard with a water jet propulsion module and hydrofoil suspended beneath it. It is ridden in much the same manner as a surfboard, standing atop it and using bodyweight transfer to steer it. The key difference is the propulsor powers it along rather than it being used to ride waves, with the thrust of the propulsion unit controlled via a hand-held remote operating either wirelessly or via a tether to the board.
Modern, electrically-powered jet boards entered popular use in the 2010’s when board races started to become a common water sporting event. However, their history goes back as far as the 1960s, while precursor to the whole idea, the powered surfboard (the motor in this case allowing the surfer to ride the board our into the surf rather than having to paddle it) goes back even further. However, it is the modern electrically-powered version of the Jet Board that Ape has produced.
The WALT Jet Board packaging
Priced at L$800, the WALT Jet Board is delivered in Ape’s familiar “toy box” packaging (which is attractive in and of itself), and comprises the Jet Board, the WALT Adjust Tool Box (a HUD and script which allow any personal animations added to the Jet Board to be properly adjusted), and an instruction manual. The board itself is a nicely detailed, clean design, weighing-in at 6 LI. Unlike other products by Ape, it doesn’t use a dialogue-driven menu system to access controls and options; everything is managed through clicking on the board itself, with information displayed via a hovertext HUD.
Jet Board Controls and Operation
Using the Jet Board is as simple as rezzing it out on Linden Water and and then right-clicking to sit. This will trigger a nice little animation, positioning your avatar in the water at the back of the board before making a “kick jump” to raise out of the water and straddle-sit the board. Doing so will trigger a local chat display of the board’s key controls, as outlined below.
Seated, board stationary
Seated / standing, board in motion
General:
Click the board = page through animations
SHIFT + ← = adjust sit position down
SHIFT + → = adjust it position up
(adjustments auto-saved)
Hold-click options (toggle on / off):
2 seconds: battery usage
4 second: battery recharge
6 seconds: board hover text
8 seconds: simulation mode
10 seconds: race mode code
12 seconds: driving tips
Throttle:
PgUp = increase throttle – double tap for throttle to 100%
PgDn = decrease throttle – double take to reduce to 0%
Driving controls:
↑ = raise the front of the board (“rider weight to the rear”) and ride on the foil
↓ = drop the front of the board (“rider weight forward”) to drop the front of the board & ride with the board in the water
← = turn left (“rider lean to left”)
→ = turn right (“rider lean to right”)
Once seated on the board, the easiest way to get used to it is to give a double-tap on PgUp. This will set the throttle to 100% and your avatar will stand on the board and ride it as it jets off. You can then use the Left / Right Arrow keys for steering, and the Up Arrow key to push the nose of the board up. This is the equivalent of shifting your centre of mass more towards the back of the board, encouraging the tip to rise. When this happens, the hydrofoil under the board starts to generate lift, pushing the board out of the water, reducing drag.
Once up on the foil, it is not necessary to maintain full throttle. The art is maintaining your centre of gravity over the sweet spot: if you have the full hover text display enabled, you want to keep the nose of the board up around 410mm. at lower speeds this may require occasional taps on the Up Arrow to maintain – but be careful not to over-do it; get the nose too high and the motor will be unable to pull sufficient water through the propulsor, killing forward momentum and dropping the board back down onto the water.
Foil-borne on the WALT Jet Board
When the speed is too low for standing, or if the throttle is cut, you’ll drop down into the straddle-sit position. If you want to move around on the board while seated, just give the PgUp key two or three individual taps to get the throttle up to 10-15%, and you’ll make headway and be able to steer.
Motion on the board is accompanied by some nice animations. When standing, your avatar will constantly bend and flex its legs is response to whatever buffeting / rising and falling the board is experiencing. When you turn, your avatar will naturally lean into the turn as if using bodyweight to influence direction. Similarly, when seated and in motion, turning will see your avatar use one or other leg as a rudder.
Permissions, Animations, Battery Charging and Texturing
Driving Permissions
There are no driving permissions associated with the Jet Board; if you rez it, anyone can hop on and use it. This means it can be easily combined with a rezzing system if desired, or copies of the board can be used with family and friends. However, if you do want to lock a board you’ve rezzed out – then, when you are not seated on it, left-click on it for about 2 seconds and the engine lock will engage, preventing any use of the board. You must repeat this step to unlock the board when you want to use it yourself.
Sit Animations
The WALT Jet Board comes with four default sit animations beside the straddle sit. These can only be activated when the board is stationary – which make sense. They can be cycled through by left-clicking the board when it is at a complete stop.
You can add your own animations to the board as well. Instructions on how to do this and in using the WALT Adjust Tool Box to fine-tune such additional animations are provided with the Jet Board. However, when using the Tool Box, note that while it supports couples animations, the Jet Board is a single person / single seat craft.
Battery Charging
Jet Board recharging
A battery charging system is included, and the need to recharge can be toggled on / off via a hold-click option, as noted in the table above.
To initiate charging simply left-cleck the board when not seated on it. The battery cover will open and a little solar charger on its own floatation device will be revealed, with cables connected to the battery.
A hover text charge status is displayed over the board as charging takes place.
Once charging is complete, the charger will de-rez and the battery cover replace itself. If you do not require a full recharge of the battery, left-click the board at any time to stop the recharge operation.
Texturing
For those who like to custom texture their vehicles (I generally do so with mine, but have yet to settled on a personalised texture scheme), Ape provides a dropbox containing the required .PSD files.
A Personal View
The Jet Board is a fun ride; it takes a little practice to master, but once you’re used to it, you’ll find yourself zipping over the water with ease. The lack of driving permissions makes it easy to share with friends, as noted, while the charging sequence is a nice touch.
While my tests were not exhaustive, I found it handled multiple regions crossings pretty well, even when repeatedly circling back and forth between regions, and I experienced little in the way of total loss of control. The hold-click menu perhaps takes the longest to get used to, and can cause frustration as it is easy to step past the option you want. However, given you’re only likely to want to use these options occasionally, it’s not a mark against the board.
Certainly, at L$800 for a unit that is Copy / Mod, the WALT Jet Board represents really good value and offers something very different to the run-of-the-mill surfboards, windsurfers and single-sit jet skis.
A two-stage Earth Return Vehicle of the kind proposed in the Mars Direct mission outline (1990) on its way to the surface of Mars following entry into the Martian atmosphere, protected by its (still attached) heat shield. Mars Direct proposed this vehicle used in-situ resource utilisation (ISRU) to fuel itself for an eventual return to Earth with a 4-person crew aboard. Credit: The Mars Society / Orange Dot Productions
In 1990, engineer-scientists David Baker and Robert Zubrin published Mars Direct, a paper outlining a relatively cost-effective means to initiate the human exploration of Mars. The paper was primarily written in response to NASA’s own 90-Day Study on Human Exploration of the Moon and Mars, a sprawling document rolling out of George H.W. Bush’s Space Exploration Initiative (SEI), a plan which NASA estimated would cost some US $500 billion in 1989 terms, and require NASA’s budget at the time be increased by 50% (from US $11 billion to $16.6 billion annually), and then adjusted for inflation every year from then on for some 30 years – and that was without accounting for the funds NASA would need to carry out all its other programmes.
While the 90-Day Study (as it was abbreviated to) outlined the means by which the United States could achieve a permanent presence in low-Earth orbit, then on the Moon before going onwards to Mars, it contained much within it that was nonsensical or at least highly questionable in terms of reaching Mars with crewed missions. However, it was the price tag that very quickly killed it – no surprises there.
Mars Direct, by contrast – whilst also controversial in several areas – was written to provide NASA with a means to go, as the name implied, directly to Mars in a manner that could be achieved in a finite time frame (10 years from project initiation through to the first crew setting foot on Mars) and at a cost that would not break NASA’s budget (and additional US $1 billion a year). A key idea of the outline – and one greatly expended upon by Zubrin in his 1996 book The Case for Mars: The Plan to Settle the Red Planet and Why We Must – was that of ISRU (in-situ resource utilisation), the use of resources available on Mars that could be leveraged to both reduce the complexities of the mission and also provide the means for an outpost on Mars to have a degree of self-sufficiency in several key areas.
This recognised that Mars has a lot of natural resources that could help support human missions to Mars – notably, but not limited to – the planet’s carbon dioxide atmosphere, which Zubrin demonstrated could be leveraged to produce vehicle propellants, water and oxygen using processes based on the Sabatier Reaction. Zubrin demonstrated this capability at his own facility in Colorado, and NASA has more recently tested it for oxygen production using their Mars Oxygen In-Situ Resource Utilization Experiment (MOXIE) on the Mars 2020 rover, Perseverance.
The Mars Oxygen In-Situ Resource Utilization Experiment (MOXIE) experiment, carried aboard the Mars 2020 rover Perseverance, tested the idea of producing oxygen from the Martian atmosphere. Credit: NASA / JPL
Zubrin also pointed out that parts of the Martian surface are potentially mineralogically rich, and these minerals could be put to a wide range of uses in support of human operations on Mars, including producing fertilisers for growing food, producing plastics, ceramics and construction materials, generating oxygen and hydrogen, etc. Like many of the ideas Zubrin developed from 1996 through the early 2000s, his views on ISRU were met with a mix of conservatism and an attitude of “not invented here” on the part of NASA, leading to the agency largely downplaying or ignoring the potential for over a decade.
Since the success of MOXIE, NASA has encouraged research into ISRU. Now a new study led by the Planetary Sciences and Remote Sensing Group at the Institute of Geological Sciences, Freie Universität Berlin, not only outlines the wider potential for ISRU using hydrated minerals, it highlights regions on Mars which are not only rich in said minerals but offer potentially “safe” landing zones for crewed missions, they are in and of themselves interesting areas for scientific study.
The research paper – due to be published in the October 2024 issue of Acta Astronautica – initially focused on the extraction of hydrates for the production of water (and by extension, hydrogen and oxygen), a-la Zubrin’s ideas with Mars Direct (allowing for the latter focusing on doing so using the Martian atmosphere). However, as the study progressed, the research team – which included representatives from Germany, France and NASA – realised the extraction and use of hydrated minerals could yield additional benefits.
The hydrated minerals on Mars are the largest water reservoir on Mars known to date (mainly sulphates and phyllosilicates). Water can relatively easily extracted from sulphates and as described in the paper [it] is the most important resource, especially propellant production. However, the [resultant] minerals [obtained through the extraction process] can also be used as fertiliser for food production [while] the phyllosilicates could be used as building material or, for example, making ceramics.
Christoph Goss, Freie Universität Berlin, research lead
The team further noted that the extraction of these hydrates, which are located within the surface regolith rather than within the permafrost layer below it or deeper within the Martian crust, can be achieved through known techniques that are relatively fast and lightweight and do not require complex drilling and other deep-level extraction mechanisms. Thus, they could be achieved relatively easily via robotic means ahead of any human presence, in much the same way as Mars Direct proposes propellant production on Mars in advance of the arrival of any exploratory crew.
Robotic precursor missions could start mining and refining the resources, especially for propellant production. Also, for example, the robotic construction of habitats or the pre-production of oxygen are conceivable projects.
Christoph Goss, Freie Universität Berlin, research lead
In analysing data gathered from a range of Mars observation satellites, including data gathered by the Compact Reconnaissance Imaging Spectrometer for Mars (CRISM) instrument aboard NASA’s Mars Reconnaissance Orbiter (MRO) and mineralogical maps produced by ESA’s Mars Express mission orbiter, the researchers identified several locations on Mars where crewed exploration could be undertaken whilst leveraging mineral ISRU. Two of these locations in particular are especially well suited for this purpose. These are Mawrth Vallis, an ancient flood channel that opens into the Chryse Planitia plains in Mars’ northern hemisphere, and Juventae Chasma, a 5 km deep basin located north of Valles Marineris. Both present excellent opportunities for landing multiple vehicle on Mars and for carrying out a range of geological and scientific research.
In this, Mawrth Vallis is particularly interesting as it was one of the regions considered for exploration by both NASA’s Perseverance rover prior to Jezero Crater being selected for that mission, and also as a possible landing zone for ESA’s (hopefully) upcoming ExoMars rover, Rosalind Franklin – although the nearby Oxia Planum was eventually selected as the landing zone for that mission.
Mawrth Vallis has some of the most spectacular colour variations seen anywhere on Mars, as revealed in this true colour image captured by the HiRISE imaging system on NASA’s Mars Reconnaissance Orbiter. These variations in surface colour are due to a range of hydrated minerals located with in and around the valley, marking it as a point of interest both for scientific study and potential ISRU exploitation. Credit: NASA / JPL
The study further points out that NASA and commercial organisations have looked at various technologies of ISRU utilising materials gathered from the surface of Mars. Whilst none are specifically referenced, one of the latter worth mentioning here was the MARCO POLO/Mars Pathfinder study conducted by engineers at Kennedy Space Centre in 2016.
MARCO POLO comprised an integrated system of a mock-up lander vehicle containing a “pressure cooker” designed to extract water, hydrogen and oxygen from an analogue of Martian regolith, and a robotic excavator, the Regolith Advanced Surface Systems Operations Robot (RASSOR). Operating on an automated basis, RASSOR demonstrated how a robot vehicle could harvest the analogue material from a test sandbox, and then deliver it to the mock-up lander for processing – with a robot “hopper” vehicle acting as a transfer vehicle between RASSOR and “lander” when the former was operating at greater distances from the that, so that RASSOR didn’t have to spend time making the transfer itself.
Ultimately, MARCO POLO went no further than the demonstration phase – the work was later re-targeted for use on the Moon in order to further develop concepts for use in the proposal Resource Prospector mission. However, the mission was cancelled in 2018 whilst still in its formulation stage.
This report might yet encourage the ideas developed by MARCO POLO (which also included the testing of a robot “hopper” tractor which could be used as an intermediary for transferring material from RASSOR to the “lander” thus allowing RASSOR to focus on gathering surface materials without having to constantly trundling back and forth to the lander to make the transfers itself) to once again be considered for future use on Mars.
Has JWST Found an Actual Water World?
LHR 1140 is a nominally unremarkable class M dwarf star located some 48 light-years away, and is now known to have two planets orbiting it. The first, discovered in 2017 and called simply LHS 1140 b, was initially thought to be an gaseous “mini Neptune” some 1.7 times the size of Earth and orbits its parent star every 25 terrestrial days. However, studies using the James Webb Space Telescope (JWST) during a series of observations of the planet as it transited its parent star have shown the planet is actually a rocky “super Earth”, with around 5.6 times the mass of our planet; what’s more, these studies have turned up a curiosity with the planet: calculations of its density suggest it has an abnormally – by Earth standards, at least – high level of water, with between 10-20% of the planet being water by mass (for comparison, only 0.02% of Earth is water by mass).
An artist’s impression of exoplanet LHS 1140b, (foreground) orbiting its red dwarf parent. Located 48 light years from Earth, recent studies of data gathered by the James Webb Space Telescope (JWST) suggest the planet my have a high percentage of water content by density. Credit; European Southern Observatory (ESO)
This potentially means that LHS 1140 b is the first confirmed “water world” discovered outside of the solar system. However, whether than water exists as a liquid or as ice (in full or in part) is open to question. Obviously, for LHS 1140 b to have liquid water present on its surface, this requires a dense enough atmosphere – and it’s going to take another year of observations at least to determine whether it does have an atmosphere, its composition and its density. In some ways, the odds of this being the case are weighted against LHS 1140 b.
Planets orbiting their parent star as close as LHS 1140 b does to its star face two challenges. The first is that class M stars like LHS 1140 are generally very violent, prone to excessive outbursts of flares and mass ejections. This can, given enough time, rip away any atmosphere of a nearby planet – and at just 9.6% the average distance between the Earth and the Sun, LHS 1140 b is very close to its parent star. The second is that such proximity to its star means that LHS 1140 b is tidally locked with its parent, always keeping the same hemisphere facing the star and in perpetual light and the other in perpetual, freezing darkness.
The first might be mitigated by the fact that LHS 1140, by red / brown dwarf standards, exceptionally calm. Therefore, it is possible that LHS 1140 b may have had a dense enough atmosphere to survive the star’s more violent phases and even now remains dense enough to support liquid water on its surface – at least within one hemisphere; the other will undoubtedly be frozen, and the regions separating the two subject to storms.
Size comparison of the two known planets of LHS 1140 with Earth. Credit: Martin Vargic
But even if the planet does not have an atmosphere, this also doesn’t necessarily all of the water it may contain is frozen; it may actually mean the planet is a gigantic “exo-Europa”, a planet covered in a shell of ice tens of kilometres thick and with a liquid water ocean beneath it, thanks to a mix of natural heating from the planet’s core, a degree of gravitational flexing as it is influenced by the gravities of both its parent star and the other known planet in the system, LHS 1140 c, and as a result of direct heating from the star itself.
This in turn raises a further point of intrigue and speculation. If LHS 1140 b does have an atmosphere, it could mean that whilst the majority of the planet is covered in ice, a single ocean – a “bull’s eye”, if you will – might exists at the point where the planet consistently receives the greatest amount of heat and light from its parent star. Estimates made by the astronomers studying the planet suggest that such an ocean could be up to 4,000 km in diameter – roughly half the size of our Atlantic Ocean – and with water temperatures reaching around 20oC, which is very approximately the average temperature of the Atlantic Ocean between the tropics.
Two possible looks for LHS 1140 b; with Earth sitting alongside for comparison. This rendering shows two of the speculated looks for the exoplanet: as a completely ice-covered world (with or without and atmosphere) similar to our own Europa, or as a largely ice-covered world with a denser atmosphere and a “bull’s eye ocean” sitting at a point where it receives the greatest amount of light and warmth from its star. Credit: B. Gougeon / UdeM
Obviously, if this were to be the case, then LHS 1140 b would be a truly unique world; the problem being that unless we manage to send to probe to it, we’ll never be able to look down on such a strange sight. And even putting aside the idea of such an exotic ocean existing on a faraway world, it’s going to take as much as a year’s worth of careful observations of the planet in order to be able to detect whether or not it has an atmosphere.
There is still a lot to be learned about LHS 1140 b, including whether or not it has an atmosphere, as noted above. But right now, all the evidence points to the fact that whether fully or partially ice, the fact that LHS 1140 b appear to have so much water in terms of its mass has important connotations for the potential of water being present on other worlds beyond our solar system.
Ariane 6 Launch Update
On Tuesday, July 9th, as as previewed in my previous Space Sunday article, the European Space Agency (ESA) successfully completed the maiden launch of its new Ariane 6 heavy lift launch vehicle (HLLV).
The rocket departed the pad at the Kourou launch site in French Guiana at 1901 UTC, making a flawless ascent, its two solid rocket boosters separating just over two minutes into the flight at an altitude of 62 km. The core stage, powered by its single Vulcain motor, continued to burn for another 6 minutes, carrying the upper stage to orbital velocity prior to shutting down and the core stage separating. The upper stage Vinci motor then fired to raise the vehicle onto its designated orbital track so that deployment of the rideshare payloads could commence from a 577-km altitude circular orbit.
Deployment of the core payloads proceeded smoothly and was completed within two hours of launch. However, problems were encountered during the demonstration of the Vinci engine’s ability to restart itself. Two engine burns were schedule for the flight, the second of which failed when the auxiliary power unit (APU) controlling the engine’s restart suffered an anomaly. This curtailed the planned de-orbit burn of the upper stage, leaving it in orbit. This caused the planned deployment of two re-entry test capsules to be cancelled. The upper stage is now expected to undergo a natural orbital decay and re-enter the atmosphere on its own in the future.
Despite this issue, the launch is seen as a success, and ArianeGroup and ESA are now focused on the next Ariane 6 launch, which is due to place France’s CSO-3 spy satellite into orbit later this year.
The following notes were taken from the Thursday, July 11th, 2024 Combat User Group meeting. They form a summary of the core items discussed and responded to by Lindens, and are not intended to be a full transcript.
Meeting Overview
The Combat User Group exists as a forum to discuss improvements to the Linden Lab Combat System or LLCS to better support combat in Second Life.
The core idea is to provide additional events and capabilities which sit on top of LLCS to provide combat creators with better tools with which to create better combat systems for their specific scenarios.
It is not intended to be a complete combat system in and of itself.
The meetings are the result of a proposal document on improving the native damage system in SL, written by Rider Linden, and which is the focus for both the meeting and any work arising from them.
These meetings are conducted (as a rule):
By Rider Linden, with the support of Kyle Linden.
On alternating Thursdays (rotating with the Content Creation User Group) at 13:00 SLT. Meeting dates are recorded in the Second Life Public Calendar and at this location.
In local chat.
Discussion topics, requests, etc., can be found on the SL Feedback Portal Combat Board.
The current iteration of server-side Combat 2.0 support is due to start deployment to the Bluesteel simulator RC on Wednesday, July 17th as a part of the Summer Fun simulator update.
Linden Lab has carried out some testing to ensure regions which do not have the Combat 2 updates will continue to operate the same way they do now.
Rider Linden is going to have the Concord and Lexington Combat regions moved to the Bluesteel RC so they are available for testing after deployment of the update.
Issues / feedback should be reported via the Support Portal Combat Board.
Feedback: How to Help New Users Discover Combat Opportunities in SL
Product Manager Kyle Linden asked for suggestions on the kinds of questions new residents might ask to in order to discover and participate in SL combat activities. Reponses included:
The basic questions: can combat / war games be played in Second Life? What kinds of combat are available? How do I find out more about them? How do I enrol? Where can I obtain weapons?
It was suggested a themed welcome hub with a selection of free weapons and some portals to newbie friendly combat regions could help solve some of these questions.
A themed welcome Hub might allow Combat Communities to apply for Community Gateway status and direct users signing-up through them to the “Combat Welcome Hub”.
A further suggestion was to have Combat added as a Search category.
Kyle Linden indicated LL was considering some newcomer friendly enhancements to linden Combat regions: teleporting to a safe parcel within them, where users might find a basic free weapon kiosk or random weapon spawner.
In support of this, it was suggested Linden Combat regions include a basic “Combat Experience” to ensure all permissions requests are either suppressed and / or correctly set and ensuring things like gestures for reload, semi/burst/auto, etc., are available.
It was also suggested that all entering the regions be required to accept the Experience in order to exit the safe parcel and participate in combat within the Linden Combat regions.
In Brief
As the initial Combat 2 updates have reached deployment, Rider considering folding the combat User Group meetings into the Tuesday Simulator User Group meetings.
Given there is already a lot of cross-over between the two, this makes sense.
The suggestion was made to conclude the Combat User Group with a combat meet- up on the Lexington region once deployment has completed. This would be the meeting currently scheduled for Thursday, July 25th.
It’s been reported that there is issue in which a damage object (generated by llRezObjectWithParams) collides with a non-avatar in the same frame, it does not actually do damage (see: Damage objects should send damage to the nearest recipient).
This is seen as a collision order issue (e.g. damage is always delivered to the first thing it hits – so this is a question of which gets the collision first).
Rider is aware of the issue, but is unsure how best to address the problem.
Additional Canny tickets:
Damage Over Time – this raises potential shortfalls with applying damage over time. This is currently marked as Under Review, pending consideration for future implementation.
Rezzing delays affect all scripts in an object – this is not limited to being a Combat-specific issue. This is being tracked, and it is hoped LL will have a fix available in a near-term simulator maintenance release.
Improved Mouselook for Combat and Immersion – this has been a topic of discussion at several combat meetings. As has been noted, this requires a pull request / code contribution from NiranV Dean (Black Dragon developer), who has stated he will endeavour to do so, once he has had the time to fine-tune and bug-fix the code some more.
Cloud Edge II, July 2024 – click any image for full size
In January 2023, I visited Cloud Edge, a stunning mountain setting beautifully presented to give the impression of being so high up in a mountain range the very clouds lay beneath you (see: Walking a Cloud Edge in Second Life). Designed by Funky Banana, a region designer with a talent for producing attention-holding region designs and settings I’ve delighted in writing about in these pages, Cloud Edge was somewhat unique in presentation – as I noted back in 2023. So, when I learned he had opened a new iteration of the setting, I was off to pay it a visit.
Still occupying a Homestead region, albeit in a new location, Cloud Edge II continues the theme established in Cloud Edge, offering a suggestion that this is a place within the same mountain range as the original, once again largely above the tree-line but where hardy growths of shrubs and krummholz cling to the otherwise barren rocks.
Cloud Edge II, July 2024
While there is a sense of continuation from the original Cloud Edge within this setting for those who visited the original, together with one or two familiar elements (notably the eagle – this time perched on a rock rather than riding the updraughts rising up from the valleys below – and the presence of a rope bridge), this is very much a place with an identity all its own. The clouds here are denser, forming a white sea which in places rises higher than the visible ridges as if to suggest there are other nearby domes and spines of rock lurking just beneath their blanket, and which might yet be revealed should the clouds deign to part.
That said, there is one dome visible to the south of the main ridge. It sits tantalisingly close yet forever out of reach of hikers (you can obviously fly over to it, but that’s cheating!), even if the clouds might encourage thoughts that just perhaps, beneath their fog-like embrace, a curtain of rock wide enough to traverse to reach the dome and its lonely tree might yet be found.
Cloud Edge II, July 2024
However, there is a visible hiking route to follow, one pointing north from the landing point at the south-eastern end of the ridge. It runs up to the foot of the blunt-nosed outcrop rising from the mid-point of the ridge to form a lone peak which seems to by supporting the trail as it sags away to lower ground to the south and north. Passing around the peak on its south side, the trail then drops back down and turns almost due north to rise via an narrow neck to a bulbous headland which extended a stubby nub of rock as if pointing to the (off-region) mountains.
This stubby finger of rock offers a dramatic look-out point with nothing but the blanket of thick cloud below, giving one the impression of standing on air with the enticing the mysteries of what lay beneath the veil on clouds calling up to you. But there is something else about this outcrop; it doesn’t take much of a rotation of the camera around it to realise that, with its bulbous mass sitting behind the stubby nub, it bears a suggestion of a terrapin sitting over white water, the nub of rock forming its head, the bulbous headland behind being its body. It an illusion heightened by the right play of light across it, which can give the illusion of the nub bearing a beak and an eye staring out over the cloud tops.
Cloud Edge II, July 2024
This northern end of the main ridge is not the last place to explore; over to west side of the descent from the main peak is another shoulder of cliff dropping away into the clouds before a thumb of rock pokes itself back above the mist. Such is its proximity, there is a suggestion that it is perhaps joined to the main ridgeline somewhere below, just hidden from sight.
However, there is no need to risk a scramble down into the clouds in an attempt to find out. Instead, a rope bridge has been strung across the gap between the two formations. Whilst missing some boards roughly two-thirds of the way across, the bridge nevertheless spans the narrow gap to offer a want onto the plateau on its far side and the presence of the eagle, which appear to be ready (and without Norma Desmond’s madness) for its close-up shot by budding DeMilles paying it a visit 🙂 .
Cloud Edge II, July 2024
Once again, an outstanding and unique location (albeit one with an unusual soundscape, sounding is as does like waves breaking against the shore), which continues and extends the beauty of the original. It is also a setting which naturally lends itself to a range of potential environment settings as well as the Shared environment when it comes to photography (as I’ve admittedly done in some of the images above).
Saint Elizabeth’s University: Haiku Quan – The Dignity of Things
Haiku (Haiku Quan) is perhaps bet known in two capacities. The first is as the founder of the Free Museum, which she present visitors to obtain art – with the permission of the artists themselves – from across Second life for free, as I wrote about shortly after it opened in January 2022 (see: The Free Museum of art in Second Life). The second is as the host and organiser of a range of musical events and concerts, notably for art events at Akiko Kinoshi (a.kiko) Art hub of Akipelago, where she books and hosts between two and three concerts a week.
However, Haiku is also a photographer in her own right, and is currently exhibiting some of her work at the Hermit Gallery at Saint Elizabeth’s University. Spread across the three levels of the warehouse-like gallery, The Dignity of Things offers a curious yet nonetheless charming look at what might be called “the extraordinary everyday”; the focus being on the kind of everyday items we might find in the physical world and which have been reproduced in Second Life.
Saint Elizabeth’s University: Haiku Quan – The Dignity of Things
From coffee percolators to toys, ornaments hairbrushes and even eggs, The Dignity of Things presents a series of images of the items we so often take for granted for one of several reasons: because of their utilitarian nature; or because they are designed to highlight the beauty of their contents – as with flower vases; or simply because even if they do contain a natural beauty or attractiveness of their own, our daily familiarity with them causes us to overlook them more than “see” them. Yet, again as Haiku notes, they all nevertheless has a dignity of form entirely of its own.
Each item is featured on its own, with little in the way of any background that might otherwise draw our attention from the subject of the picture. This gives each image a minimalist look and feel which – to a degree – put me in mind of Melusina Parkin’s minimalist photography. Now to be clear, this is not to say Haiku is in any way directly mimic Melusina’s unique approach; where Melusina’s images tend towards being off-set in focus relative to their subject, and utilise unique angles, Haiku uses a more direct, face-on approach, focused solely on each item- a clear differentiator between her work and Melu’s. Nevertheless, like Melu’s work, the overall minimalism of Haiku’s pieces allows us to focus fully on each subject and – to use Haiku’s words – its inherent dignity, whilst (again also like Melu’s photography) each picture suggests a wider narrative that exists beyond the bounds of the picture frame.
Saint Elizabeth’s University: Haiku Quan – The Dignity of Things
A further attractive aspect of these pictures is the fact they appear to be minimally post-processed; there is a natural rawness to each one, giving it realism that others often seek to produce through complex post-process editing. This, coupled with the elements noted above, makes these pieces so engaging.
However, there is another aspect to these pictures that I found attractive: their framing is such that not only are we made to focus on each of their subjects, we are also encouraged to consider the creativity and skill that brought them into Second Life. This in turn overlaps with the larger narrative alluded to: the fact that all of the subjects in this collect of images reflect items we can find around us in the physical world, all of which also have a dignity of beauty and creativity – either the result of Nature or due to a combination of practical form meeting purpose and / or man-made processes and creativity behind them.
Saint Elizabeth’s University: Haiku Quan – The Dignity of Things
All of the pieces in this collection are offered for free, in keeping with Haiku’s approach to offering art at no cost, making them attractive to those looking for very individual pieces of art for their SL homes.
SLurl Details
Hermit Gallery, Saint Elizabeth’s University (Dark Dreamer, rated Adult)
Soulstone, July 2024 – click any image for full size
It was back to Soulstone, the Full private region held by Valayra Asher (Valayra), for me, and a place I last visited in February (see: A belated appreciation of Soulstone’s winter beauty in Second Life). Since that time, the region has once again had a make-over; this time bringing us a distinctly sci-fi setting which folds into itself an element of art visitors might appreciate – although I’m admittedly uncertain as to how long the setting will remain in place,.
The setting has a distinctly Star Wars feel to it when first arriving, the About Land even referencing Tatooine; it is akin to arriving within a district of somewhere like Mos Espa, containing as it does elements mindful of both The Mandalorian and The Book of Boba Fett. However, to say the setting is intended to represent any specific location on Tatooine or from the Star Wars franchise in general – films or streaming shows – would be a mistake. The look here is more general in nature, including as it does references and hints to broader media sci-fi themes.
Soulstone, July 2024
The public area runs entirely up the eastern half of the region and also encompasses the north-west quarter. Separated from all of this by slender ridges of sand is the south-west quarter of the region, which is given over to what appears to be a private home. So, if I might borrow from another science fiction classic (if one that is terribly underrated due to its source material): “all of this region is yours to explore, except the south-west corner. Attempt no landings there.”
The landing point is located at the entrance to a bar – I hesitate to use the term “cantina”, as that word carries with it certain expectations given the Star Wars inspiration for the region, and the place inside the doors by no means seeks to replicate the place visited by a certain young Skywalker and his elderly companion. Rather, it has a look and feel – and touches of humour – all its own, with the humour starting at a sign bearing a “quote” next to the front entrance:
Trust me, you can dance.
– Alcohol
Soulstone, July 2024
The bar is located to the north-west of the setting, which is the most sparsely populated part of the town in terms of buildings. One of these offers a touch of science fact to mix with the sci-fi, coming in the form of a holographic display of our own little dwarf planet Pluto (technically a Kuiper Belt object, thus causing its formal reclassification in 2006). This shares the space within the building with what might be regarded as the first of the setting’s art displays.
Outside, away from its covered entrance, a strange convoy of elephant-like creatures carrying what appears to be robots on their backs is passing. It form a more visible (on first arrival) statement of art, and one that occurs elsewhere in the setting as a kind of motif. It is also one which, at first glance, put me in mind of Haveit Neox’s work; although his is purely coincidental.
Soulstone, July 2024
The caravan appears to be heading for the largest and tallest building in the setting, which forms a combination of art gallery and hotel, the former offering digital 2D art inspired by Star Wars. The latter offers multiple levels of accommodation of a form Tech 49 (or 52, depending on your point-of-view) Jack Harper might well feel at home within, given the general styling if not the overall presentation. Landing pads on the uppermost level offer what is presumably private parking for residents who need it for their spacecraft.
The hotel isn’t the only place with room for spacecraft. To the south sits a hanger / landing bay which, whilst in no way resembling it, brings to mind Peli Motto’s hanger and maintenance facility as most frequently seen in The Mandalorian. Close to this is a large, open landing facility sitting atop a flat rock, which offers a hint of franchise cross-over as it is home to a vehicle quite clear based on the Danube class of Starfleet runabouts (as particularly seen in Star Trek: Deep Space Nine.
Soulstone, July 2024
Whilst this craft here is in no way representative of Starfleet or the Federation, it did remind me of wry comment on the part of one Major Kira Nerys concerning this much put upon class of vessel: “You know, the rate we go through runabouts, it’s a good thing the Earth has so many rivers.”
In terms of art within the setting, and in addition to the elements already mentioned, visitors might find pieces by Bryn Oh, Fresh3D (also responsible for the elephant convoys), DRD (Deathrow designs), Ini (in Inaka) – together with an accompanying 3D element stacked by Valayra, and Pira (Igor Novikov).
Soulstone, July 2024
Also awaiting discovery is what is either a laboratory overseen by little rabbit-eared robots or what might actually be some form of medical centre (at least going by the red crosses on the gallery level beds (assuming the red cross is universally translatable!). A further reference to The Mandalorian can also sort-of be found here. In addition, some of the buildings include various figures from Star Wars, and walkers possibly inspired by the franchise can be found going about their business in the dusty streets – although they may at times have to duck to avoid the lasers which are firing up into the sky from next ground level in a couple of places.
Throughout all of this are numerous little touches that might help further delight the eye, whilst the default environment setting and the use of both local sounds and – here and there – media – further add to the experience. The setting also lends itself to custom EEP settings for those who like to use them, as I hope at least a couple of the images here demonstrate.