Update, November 2024: La Côte Sauvage has relocated and has been remodelled
Sitting within a half Homestead region is La Côte Sauvage (The Wild Coast), a natural location held and design by Second Life artist-photographer Caly Applewhyte (Calypso Applewhyte). It takes as its inspiration the Breton Coast, France – although whether it is predominantly inspired by Brittany’s northern or southern coastline or an amalgam of both is unclear; and while there is a stretch of French coast along the Bay of Biscay actually called La Côte Sauvage, this lies within Nouvelle-Aquitaine further to the south, so is potentially not a factor in the setting’s design.
Note that where or upon what the setting might be directly inspired is particularly relevant; Caly’s La Côte Sauvage speaks entirely for itself as a small but highly photogenic setting; a place which uses elevation to its advantage, allowing it to represent a coastal area without relying on being backed-up against one side of the parcel or another (or maybe two sides) within which it sits, thus allowing to stand as something of an island setting, whilst also allowing the imagination to interpret as a stretch of coast whilst wandering between valleys and hilltops.
Although sitting within a half Homeland region, the setting is actually split into two parcels: to the south is La Côte Sauvage itself, primarily given over to dray land and with a richness of content that does not feel it is in any way overcrowding the parcel. Then, to the north is the largely open water La Côte Sauvage 2, to which I’ll circle back in a bit.
The landing point is located on the southern side of the land, where a small boardwalk reaches over the water from one of the setting’s beaches to a little knob of an isle that offers the first of many places where those who wish to sit and spend time in the region. On the landward side of the boardwalk, a signboard for the Nature Collective can be found, where donations for the settings upkeep can be made. Close by are further places to sit, one in the lee of one of the setting’s hills, the other on the beach itself.
The main path of exploration runs north between two of the elevated parts of the location, dog-legging a little to the east to reach the bank of a stream as it cuts through the landscape in a reverse “s”, before turning north again and open out to access another of the beaches. To the left of this path are steps leading up the side of the hill to reach a low plateau claimed by the local sheep and which includes a comfy little seat for any shepherd wishing to keep and eye on them 🙂 . From here it is possible to climb up to the highest point in the setting, where a rotunda has been built to house a small gallery of Caly’s photography, together with a vendor where copies of Caly’s work can be purchased.
This gallery overlooks the beach mentioned above, behind which sits a carpet of grass between the beach and the stream on which can be found a summer house. Neatly utilising the larger half of Cory Edo’s Yara Treehouse outfitted to offer a cosy retreat, complete with a sofa to watch the ebb and flow of the sea.
The second half of the treehouse structure sits as another little cosy hideaway on the south side of the landscape. It can be reached one of two ways: when following the main path between the hills, a turn to the right at the foot of the the hill there and using the stepping stones to cross the stream; alternatively, a walk east along the beach at the landing point and then following a rock (and spray-drenched!) walk around the base of the cliffs to where a bridge spans the mouth of the stream. On the far side of the cabin from the stream offers a way up to the hill behind it, as well as to a little cove that offers a bit of a hideaway place to sit and spend time.
Turning to the stream, this starts to the north-east of the land, snaking its way south and west and then back to the east again to reach its mouth. It’s possible to follow a good part of the stream towards its source using its southern bank and two bridges. Doing so will bring visitors to the two final points of interest on the northern side of the setting: the ancient ruins on the northern-eastern hills, and the raised walkway reaching out over the water to an aged stone pavilion surmounting a single island.
Both the ruins and the pavilion, although of different ages, sit will together and add a sense of history to the setting – and in the case of the ruins, with their stand stone, alter and ancient Norse horn, offer a sense of mystery and mysticism, while the columned steps leading up to these points carry a hint of ancient Central American architecture. Meanwhile, the pavilion carries with it a hint of the Romanesque in both its style and its furnishings (and even in foodstuffs set out on the table).
All of the above still misses out on so much the reach has; the manifold places to sit and / or take photos, the coastal soundscape, and the ability to rez items – most notably as props for photography – but do remember to pick up your bits when done.
It’s this aspect of rezzing that brings me back to the the open water to the north of the land, offering as it does the opportunity to rez something like a rowboat, pedal boat, windsurfer or similar and take to the water and travel around the setting (just be careful about straying into the neighbouring half of the region!
In all, a beautifully crafted setting, relaxing, and fun to explore – but don’t just take my word for this!
SLurl Details
- La Côte Sauvage (Arianna, rated Moderate)
Inara Pey: Living in a Modemworld 