The floating beauty of Sable Hound Hollow in Second Life

Sable Hound Hollow – Romantic Reverie, January 2026 – click any image for full size
Sable Hound Hollow presents a sanctuary for dreamers and a haven for lovers. Here the first whispers of Spring and the enchantment of the Hollow invite you to linger awhile and let your heart rest and your worries fade. Be it alone or with that special someone, allow the quiet beauty of this place remind you the magic of love is real.

– Sable Hound Hollow About Land

So reads a description for Sable Hound Hollow – Romantic Reverie, a setting designed by Honey Heart (H0neyHeart) as a public space for people to visit and enjoy, and forming a part of the wider Sable Hound Hollow region.

Sable Hound Hollow – Romantic Reverie, January 2026

set as a pair of islands floating just over 500 metres in the sky, this is – as the description suggests – a romantic setting, one of considerable beauty and detail and offering much to appreciate and see. The Landing Point sits on the larger, western island, located on its highest level.

Here, within a large gazebo where visitors can join the local Group and – from now through until the end of February – join in a number of events centred on a celebration of Valentine’s Day. These include a hunt (group tag required), and the opportunity to obtain a daily gift when visiting from February 1st through 14th (again, Group membership required).

Sable Hound Hollow – Romantic Reverie, January 2026

Placed within a circular garden area, this upper reach of the setting offer two paths for visitors to follow as they explore. One of leads to a ladder draped over the edge of the plateau to offer a way down to a shoulder of rock arcing around the garden plateau. This forms another garden space with its own gazebo nicely separated form the rest of the setting to give a greater sense of intimacy / privacy, with treats and hot drinks available under its roof, exotic plants scattered among its flowers together with statutes, while trees provide shade and birds watch over the comings and goings of visitors.

The second path goes by way of steps to a larger garden space. this offers seating in the form of a bench floating under a cloud and a balloon holding aloft a seat for singles and couples (beware of the drop when standing up!), together with another table of treats and a Greco-Roman style gazebo where the 14 gifts for Valentine’s can be found, displaying the dates and times they will become available to Group members.

Sable Hound Hollow – Romantic Reverie, January 2026

Beyond this area, another ladder descends to the second half (so to speak) of the lower shoulder of rock, which again offers companionable seating in two locations (and an easily missed swing if you are not paying attention!), together with a bridge spanning the gap to the smaller of the two islands.

Here, the setting is again split into various levels. Just off to the left on crossing the bridge, the island offers a curve of grass richly coloured by wildflowers, as it arcs its way to where water forms a curtain and pool as it drops from a rocky archway. As it does so, the path passes a table set for a tea party, although no individuals in hats or mice or caterpillars are in evidence –  just a pair of friendly rabbits :). Just before the waterfall and pool, a hint of magic is provided in the form of a bird perched on an upright post. Magical because if you wait just a few minutes, the bird will change its form and song.

Sable Hound Hollow – Romantic Reverie, January 2026

The waters of the fall drop from the rocks forming the upper tier of this island, reached easily enough by a set of stairs. Here visitors can take a pony ride and receive a gift of said pony at the end. A trail winds around the plateau, passing all the points of interest, including statues, a pair of swings to ride, together with the opportunity for a picnic under the boughs of twisted trees and in the company of white peacocks. This trail ends in steps running down to another path and gazebo set at one end of another sweeping curve of garden.

A third ladder has been cast down from the north-eastern side of this upper space to offer a way down to perhaps the most secluded part of the gardens. This is where water drops down from the pool mentioned above to join with the flow of additional waterfalls as they combine into a large pool before tumbling over the edge of the island to fall away into the clouds below. Marked again by a colourful array of flowers and trees,  this area offers seating within another gazebo and a further swing suitable for solo sits.

Sable Hound Hollow – Romantic Reverie, January 2026

All of the above barely scratches the surface of all there is to be found here; Honey’s attention to detail means that everywhere are touches and details. These run from the mix of flower and plants – most conventional, some carrying a sci-fi or fantasy twist; the local wildlife, some of which might be easily missed (like the weasel peeping out of a hollow log); the floating lanterns, and more.

Both romantic and serene, the island of Sable Hound Hollow make for a relaxing and visually engaging visit.

Sable Hound Hollow – Romantic Reverie, January 2026

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The Colour of Vulnerability at Nitroglous in Second Life

Nitroglobus Roof Gallery, January 2026: Flossy Nova – Colour of Vulnerability

As I recently noted, there are two exhibitions kicking-off 2026 at Nitroglobus Roof Gallery, operated and curated by Dido Haas. The first – and slightly longer-running in terms of opening date – is by Sydney Couerblanc, as I covered that within Afterimages of Spring at Nitroglobus in Second Life.

The second exhibition, occupying the main hall of the gallery is The Colour of Vulnerability, a striking exhibition of work by Flossy Nova (flo0owl). Like Sydney’s exhibition in the gallery’s Annex, this is a collection of pieces rich in emotive content, but one very different in style to Sydney’s use of narrative as a connecting theme between the images.

Nitroglobus Roof Gallery, January 2026: Flossy Nova – Colour of Vulnerability

Colour is often used to describe mood and emotion, and in some ways this is very much the case within The Colour of Vulnerability; however, through her use of bold, strong colours Flossy not only offers suggestions of mood, but also of self; an expression of state-of-mind when placed within a virtual realm such as Second Life and the freedoms that come with it.

The nineteen images comprising the exhibition border on the abstract in terms of their use of colour, whilst encompassing silhouette-like elements for her avatar; the two combining into a series of expressionist piece which captivate the eye completely. Rather than carrying a narrative thread, each of these images stands on its own; the unifying element being the use of colour.

Nitroglobus Roof Gallery, January 2026: Flossy Nova – Colour of Vulnerability

The colours serve as both backdrops and as expression of mood, whilst also in some suggesting the very aura of life and emotion surrounding the figure they contain. Throughout all of them, Flossy reveals suggestions of both her mood and being in a manner which is both subtle and yet clearly declarative; a fusion of expressiveness matching the interplay of colour and silhouettes.

However we interpret each piece is a matter of personal response and mood. Clues might be found within the titles the artist has given to each work, however I would suggest allowing them to speak to you prior to taking and edit-peek at any of the titles.

Nitroglobus Roof Gallery, January 2026: Flossy Nova – Colour of Vulnerability

A visually engaging exhibition, layered with emotional meaning and reflection.

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2026 week #4: SUG meeting summary

Reality Escape, January 2026 – blog post

The following notes were taken from the Tuesday, January 20th, 2026 Simulator User Group (SUG) meeting. These notes form a summary of the items discussed, and are not intended to be a full transcript. They were taken from the video recording by Pantera, embedded at the end of this summary – my thanks to Pantera for providing it.

Meeting Overview

  • The Simulator User Group (also referred to by its older name of Server User Group) exists to provide an opportunity for discussion about simulator technology, bugs, and feature ideas is held every other Tuesday at 12:00 noon, SLT (holidays, etc., allowing), per the Second Life Public Calendar.
  • The “SUG Leviathan Hour” meetings are held on the Tuesdays which do not have a formal SUG meeting, and are chaired by Leviathan Linden. They are more brainstorming / general discussion sessions.
  • Meetings are held in text in-world, at this location.

Simulator Deployments

  • All simhosts are undergoing restarts this week, with no deployments.
  • The next simulator release  – 2026.01 (Kiwi) is currently with QA.
  • The simulator release to follow that – 2026.02 – has been given the code-name of Loganberry, but it’s too early in development for details to be provided.

Game Control

  • Leviathan Linden had planned to try to get a project viewer branch put together for his game_control work, but has been sidetracked in dealing with issues with the Kiwi simulator code.
  • He still hopes to be able to cut that branch “on the side” and see if he can create an installable that can be used to check to see if the game_control code actually works with the port to the current viewer code branch.

Grid-Wide WebRTC Deployment Announcement

  • As per the most recent OSD meeting, LL is hoping to deploy WebRTC grid-wide in March 2026.
    • This is not a set-in-stone target, and further updates will be made.
    • This means that Vivox, whilst still being held in reserve, will no longer be available as a Voice service – so those using Voice and using a non-PBR  / WebRTC viewer will need to update.
    • The Lab is currently looking at a March deployment of WebRTC voice across the grid.
  • The public beta for WebRTC has expanded – see this official blog post for details –  and Roxie Linden and her team hope the beta expansion will provide more feedback from users on voice quality, voice stability, etc.
  • Transcription using WebRTC is being poked at by the Lab, but will not be a part of the initial deployment.

SLua Work

  • Harold Linden has a rough draft on how `require()` has to behave to make sense both in VSCode and in-viewer. This is very much a work-in-progress.
    • In short: if you’ve ever had to edit someone’s preprocessed LSL script without all the #includes they had on their disk, and had to wade into the generated code + //#line comment soup, this should be a more readable way to bundle together all the code so editing is nicer.
    • This prompted a series of question on the documentation – please refer to the video.
    • Having the include/require path include object inventory for scripts in objects was noted as future work.
  • A new SLua editor will be available with upcoming viewers which should have much faster script editing.
  • Rider Linden indicated he would like to add something to the VSCode plugin that would provide access to scripts in inventory – and noting a concern in giving anything automated access of any kind to agent inventory.

SLua Resources

  • The nine beta test regions are centred on SLua Beta Void (mind the water!).
  • Official scripting portal (this is a work in progress and open to contributions – Github for the latter here).
  • The Second Life official Discord server / channels.
  •  Suzanna’s SLua Guide (Suzanna  Linn).
  • Official VScode plugin notes:
    • It is not yet available on the VScode marketplace.
    • Issues and PRs for code submissions can be made here, and the plugin downloaded.
  • VSCode plugin + documentation (Wolfgang Senizen – likely be discontinued and contributions shifted to support the official documentation).

In Brief

Please also refer to the video, below.

  • Monty Linden indicated the annual simhost certification work is now in progress. Overall, very little is changing, so no problems are anticipated.
    • The new certifications are being used by the 2026.01 code running on the release test regions on Aditi (the beta grid).
    • Monty plans to automate the recertification later in 2026, and the certification will change slightly at that time.
  • A request was made to allow scripts to exchange messages (or streams of messages) with the viewer using by using llOwnerSay (sending towards viewer), and listen on certain channel (receiving from viewer) but directly without a listen.
    • Apparently a feature request for this is in development for submission to Firestorm.
    • Rider Liden expressed an interest in seeing that request once written.
    • This also sparked a discussion on how llOwnerSay works across region boundaries (e.g. with the help of child agents).
  • A general discussion on Drawer Distance and how to extend it beyond 1024 metres (e.g. via anchoring the camera in a region and flycamming to another and anchoring there – or by using a 3D Mouse such as SpaceNavigator  – my preferred choice).
  • Further requests for the Mainland default EEP setting to be adjusted and  on the status of llSetLinkGLTFOverrides fails to clear alpha override. The former will be referred back to the LDPW and Patch Linden (again), no answer was provided on the latter (it may have been missed in the chat).

Date of Next Meetings

  • Leviathan Linden: Tuesday, January 27th, 2026.
  • Formal SUG meeting: Tuesday, February 3rd, 2026.

† The header images included in these summaries are not intended to represent anything discussed at the meetings; they are simply here to avoid a repeated image of a rooftop of people every week. They are taken from my list of region visits, with a link to the post for those interested.

Jade’s Inis Oírr in Second Life

Jade Koltai: Inis Oírr, January 2026 – click any image for full size

Sitting on the mouth of Galway Bay on the west coast of Ireland, are the three Oileáin Árann, the Islands of Aran. Comprising three core isles –  Inishmore, Inishmaan and Inisheer, together with a number of small islets, the Arans are not a large grouping; the three main isles provide just 46 square kilometres of land mass between them. However, they carry a history of human habitation going back to around 1100 BC.

Between them, the islands have seen their fair share of history, including Cromwell’s forces stomping around the islands and building multiple churches (among other things), and in being folded into the Nine Years War (1688-1697), with Irish-born privateer Thomas Vaughan, working for the French, seized the islands for a brief period after a series on initial raids on the settlements there.

Jade Koltai: Inis Oírr, January 2026

Of the three islands, Inis Oírr – to give Innisheer its Irish name – is the southerly. Covering just 1,448 acres, it is actually the island with the second highest population count for the Arans (343 as of 2022). Its small size makes it an ideal inspiration for a region build in Second Life – and that is exactly what Jade Koltai has done in order to create her latest region design at Overland Hills, and which she calls, appropriately enough, Inis Oírr.

Of course, even trying to capture 1,448 acres in a single region is no easy task, so Jade has once again sought to capture the spirit of Innisheer, focusing on offering representations of the island’s more notable landmarks and locations. And in my opinion, she more than succeeds. The design captures much of its namesake whilst offering a unique setting in its own right.

Jade Koltai: Inis Oírr, January 2026

Chief among the latter are the Innisheer Lighthouse, completed in 1857 and located on the southern tip of the island; Teampall Chaomháin, the ruins of a church dedicated to the island’s patron saint, Chaomháin of Innisheer, and a representation of the MV Plassy. Despite being the “most celebrated of all the saints of the Aran islands”, little is actually known about Chaomháin, but the church dedicated to him lies within the cemetery on Innisheer, and which today looks more like an excavation than a church , something Jade has neatly reproduced.

The MV Plassy is very much a part of the island’s more recent history. Originally built as an armed anti-submarine trawler for the Royal Navy, the vessel was originally names Juliet (as in Romeo and Juliet, the ship and her sister vessels all being named for Shakespearian characters).

Jade Koltai: Inis Oírr, January 2026

The ship saw service in World War Two, prior to being sold-off and renamed the Peterjon prior to again being renamed Plassy in 1951, and working as a coastal freighter. In 1960, a storm drove the ship onto Finnis Rock off the coast of the island, with the entire crew rescued by the islanders. A second storm then beached the wreck up on the rocky shore of Innisheer, where it remains to this day (perhaps gaining wider fame via a certain British-Irish sitcom of the mid-to-late 1990s).

Jade’s build wisely steers away from trying to present the island’s local community (although the Landing Point does take the form of a harbour wharf), instead concentrating on the above and other historical details, such as what might be seen as the ruin of one of the churches built by Cromwell – or perhaps a reference to O’Brien’s Castle, built in the 1300s.

Jade Koltai: Inis Oírr, January 2026

There are also dry stone walls snaking across the rugged landscape, just as can be found across Innisheer, whilst a part of the landscaping of the coast might be taken as referencing the island’s limestone pavement. Even the island’s connection to Ireland gets a mention: at the landing point is a sign for the Doolin Ferry, which connects the Aran Islands with the settlement of Doolin, County Clare, to the south-east of the group – and indeed, a ferry is docked at the wharf.

The offshore region surround elements might be a little too mountain-like in places to represent the Galway / Clare coastline or Innismaan (Inis Meáin), the second largest of the three main islands, but this hardly matters; the presence of the elements help to give Jade’s Inis Oírr a further sense of place.

Jade Koltai: Inis Oírr, January 2026

When visiting, do have local sounds enabled for a more immersive feel, and do note also that the shared environment is a little on the gloomy side (well, it is winter and this is the Irish Sea, and nature is hardly sunny a gay this time of year!).

It is because of this, I opted to make some adjustments to lighting when taken my photographs, and then overly this with shots using the actual EEP settings for the region as a part of post-processing. Hopefully, this helps bring out some of the details more clearly.

Jade Koltai: Inis Oírr, January 2026

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Afterimages of Spring at Nitroglobus in Second Life

Nitroglobus Roof Gallery, January 2026: Sydney Couerblanc – Afterimages of Spring

Currently being hosted at Nitroglobus Roof Gallery, operated and curated by Dido Haas, are two exhibitions which are very different in tone and style, but which both draw on us emotionally. Over this and a forthcoming piece, I will be covering both, starting with the longer-running of the two.

Located within the Annex at Nitroglobus is an exhibition by Sydney Couerblanc  – a Second Life photographer whose work I don’t believe I’ve previously encountered. Afterimages of Spring presents a series of images captured within the ever-engaging Bella’s Lullaby, a place I have been known to frequent and have written about on numerous occasions. For me, this would usually be enough to encourage a visit to an exhibition; however, Afterimages of Spring presents two further attractions: Sydney’s use of black and white photography, together with the fact that these images are not intended to present the beauty of Bella’s lullaby per se, but rather they use the region to present a story, one that might be seen as part of a larger narrative, given the questions it spurs.

Nitroglobus Roof Gallery, January 2026: Sydney Couerblanc – Afterimages of Spring
Spring is ending. It is her last day as light keeper on Blackheart Key. She took the job as a desperate attempt to get away. From the city, from the ex, from herself. Although challenging at first, she found solace in the island, and in time came to call it home. Today, with departure upon her, she misses it already.

– Artist’s statement on Afterimages of Spring

So it is that we join this unnamed light-keeper on the island carrying a name that is the negative (so to speak in photographic terms, that is) of the artist’s, as she travels through her final day at this remote location. Through eleven carefully framed and beautifully executed images, we follow her day from rising, through a final round of tasks to a final farewell, the island apparently seen from aboard a departing vessel.

The unfolding story is heavy in latent emotions, which follow outwards from each image: sadness at a forthcoming departure; apprehension at what now lay head; heart-tugging final times with friends soon to be left behind, and more. Through her framing and the gifted use of focus and depth of field combined with the sharpness , and black and white itself, Sydney conveys her story perfectly.

Nitroglobus Roof Gallery, January 2026: Sydney Couerblanc – Afterimages of Spring

In this, I particularly like Sydney’s use of the lighthouse itself in the majority of her pictures. It is present in nine of the eleven images, generally in the background and in a soft focus. This gives the lighthouse a sense of being; it is not so much a structure designed to fulfil a function – it is a friend; a guardian, a comforting presence keeping a companionable watch on our light keeper without making demands or overshadowing her life and thoughts.

Then there is the broader story hinted at both through the artist’s statement and the idea of the light keeper now leaving this sanctuary she has lived within: what did happen to her city life, her ex – perhaps even her career? – to cause her to seek such remote a withdrawal in the first place? And what now that she is departing – what will see discover or encounter? How will she fair? Might she yet have cause return?

Nitroglobus Roof Gallery, January 2026: Sydney Couerblanc – Afterimages of Spring

These are questions Afterimages of Spring perhaps stirs – but does not seek to answer. Like all skilled storytellers, Sydney presents enough to provide her core story, then leaves the rest to our imaginations.

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Space Sunday: Crew 11 comes home; Artemis 2 rolls out

The Crew-11 astronauts deboarding their NASA flight to Ellington Field, Houston on January 16th, 2026. Left to right: NASA astronauts Mike Fincke and Zena Cardman; Japan’s Kimya Yui and cosmonaut Oleg Platonov. Credit: NASA/Robert Markowitz

NASA’s ISS Expedition 73/74 crew, flying as SpaceX Crew 11, have made a safe and successful return to Earth following their medical evacuation from the space station.

As I reported in my previous Space Sunday piece, the decision to evacuate the entire 4-person crew, comprising NASA astronauts Zena Maria Cardman and Edward Michael “Mike” Fincke, together with Kimiya Yui of the Japan Aerospace Exploration Agency (JAXA) and Russian cosmonaut Oleg Platonov, was made after one of the four suffered an unspecified medical issue. Details as to who has experienced the issue and what form it takes still have not been revealed – although when initially discussing bringing the crew back to Earth roughly a month ahead of their planned end-of-mission return, the agency did make it clear the matter was not the result of an injury.

NASA also made clear the move to bring the crew home was in no way an emergency evacuation – had it been so, there were options available to return the crew a lot sooner. Instead, the evacuation was planned so that the affected crew member could have their situation properly diagnosed on Earth, whilst allowing time for the combined crew on the ISS to wrap-up as much as possible with outstanding work related to their joint time on the station and to allow Fincke, as the current station commander, to hand-over to cosmonauts Sergey Kud-Sverchkov, who together with Sergey Mikayev and  US astronaut Christopher Williams will continue aboard the station, where they will at some point in the next month be joined by the Crew 12 team from NASA.

Crew Dragon Endeavour, with her docking hatch open, backs gently away from the ISS, January 14th, 2026. Credit: NASA

The crew began prepping for their departure in the evening (UTC) of Wednesday, January 14th, when after a round of goodbyes to the three remaining on the ISS and then changing into the SpaceX pressure suits, the four Crew 11 personnel boarded Crew Dragon Endeavour, prior to the hatches between the spacecraft and station being closed-out and final checks run on the vehicle’s status in readiness for departure.

Following this, all four of the crew ran through a series of leak checks on their suits to ensure all connections with the Dragon’s life support systems were working, and Cardman – acting as the Crew 11 Mission commander and the experienced Fincke as the Crew 11 vehicle pilot – completed all pre-flight and power checks.

Captured via a high altitude observation aircraft, Endeavour passed into the denser atmosphere surrounded by a plasma cone of super-heated molecules and trailing a fiery tail behind her. Credit: NASA

Undocking occurred at 22:20 UTC, slightly later than planned, Fincke guiding the spacecraft smoothly and safely away from the station until Endeavour moved through the nominal 400-metre diameter and carefully monitored  “keep out sphere” surrounding the ISS. This “sphere” represents the closest any vehicle can come to the ISS whilst operating entirely independently from the station – vehicles can only move closer whilst engaged in actual docking manoeuvres.

Crossing the sphere’s outer boundary some 20 minutes later, Endeavour entered the “approach / departure ellipsoid” – a zone extending away from the ISS denoting, as the name suggests, the area of space along which vehicles can approach / depart the station and make a safe manoeuvres away should anything happen during an initial docking approach.

By 22:52 UCT, some 30 minutes after initial undocking, Endeavour transitioned away from the ISS and into its own orbit around the Earth, intended to carry to a position where it could commence it re-entry manoeuvres and make a targeted splashdown off the coast of California. The main 13.5-minute de-orbit burn was initiated at 07:53 UTC on January 15th, as Endeavour passed over the Indian Ocean and  Indonesia. From here, it passed over the Pacific reaching re-entry interface with the denser atmosphere at 08:31 UTC. At this point communications were lost – as expected – for around 7 minutes as the vehicle lay surrounded by super-heated plasma generated by the friction of its passage against the denser atmosphere, prior to being re-gained at 08:37 UTC.

A pre-dawn infrared photograph taken from the deck of the recovery vessel MV Shannon, shows Endeavour still glowing from the heat generated by her passage through the atmosphere as she awaits recovery, January 15th, 2026. Credit: SpaceX

Splashdown came at 08:40 UTC, closing-out a 167-day flight for the four crew. Recovery operations then commenced as a SpaceX team arrived at the capsule via launches and set about preparing it to be lifted aboard the recovery ship, which also slowly approached the capsule stern-first. By 09:14 UTC, Endeavour had been hoisted out of the Pacific and onto a special cradle on the stern of the MV Shannon, allowing personnel on the ship to commence the work in fully safing the capsule and getting the hatch open to allow the crew to egress.

On opening the hatch, a photograph of the four crew was taken, revealing them all to be in a happy mood, the smiles and laughter continuing as they were each helped out of Endeavour with none of them giving any clues as to who might have suffered the medical condition. Gurneys were used to transfer all four to the medical facilities on the Shannon, but this should not be taken to signify anything: crews returning from nigh-on 6-months in space are generally treated with caution until their autonomous systems – such as sense of balance – etc, adjust back to working in a gravity environment.

Visors up and thumbs up, the four crew (Platonov, Fincke, Cardman and Yui) aboard Endeavour as the capsule hatch is opened following recovery onto the MV Shannon. Credit: SpaceX

Following their initial check-out, all four members of Crew 11 were flown from the Shannon to shore-based medical facilities for further examinations. The ship, meanwhile, headed back to the port of Long Beach with Endeavour. Following their initial check-outs in California, the four crew were then flown to Johnson Space Centre, Texas on Friday, January 16th for further checks and re-acclimatisation to living in a gravity environment. No further information on the cause of the evacuation or who had been affected by the medical concern had, at the time of writing, been given – and NASA has suggested no details will be given, per a statment issued following the crew’s arrival at Johnson Space Centre.

The four crew members of NASA’s / SpaceX Crew-11 mission have arrived at the agency’s Johnson Space Centre in Houston, where they will continue standard postflight reconditioning and evaluations. All crew members remain stable. To protect the crew’s medical privacy, no specific details regarding the condition or individual will be shared.

– NASA statement following the arrival of the Crew 11 members at JSC, Texas.

Artemis 2 on the Pad

The massive stack of the second flight-ready Space Launch System (SLS) rocket and its Orion MPCV payload, destined to carry four astronauts to cislunar space and back to Earth, rolled out of the Vehicle Assembly Building (VAB) at NASA’s Kennedy Space Centre atop its mobile launch platform, to make its way gently to Launch Complex 39B (LC-39B).

The rocket – comparable in size to the legendary Saturn V – and its launch platform slowly inched out of High Bay 3 at the VAB at 12:07 UTC, carried by one of NASA’s venerable Crawler Transporters at the start of the 6.4 kilometre journey.

Artemis emerges: Sitting atop it mobile Launch Platform and on the back of a Crawler Transporter, the Space Launch System (SLS) vehicle containing Integrity, departs High Bay 3 of the Vehicle Assembly Building, Kennedy Space Centre, on the firs leg of the Artemis 2 flight to cislunar space and back. Credit: AP/John Raoux

The drive to the launch pad took almost 12 hours to complete, the average speed less than 1.6 km/h throughout. Standing 98 metres in height, SLS is powered by a combination of 4 RS-25 motors originally developed for the space shuttle, together with two solid rocket boosters (SRBs) based on those also used for the shuttle – although these boosters, with their tremendous thrust, will only be available to the rocket during the first couple of minutes of its ascent to orbit, helping to push it through the denser atmosphere before being jettisoned, their fuel expended.

The next major milestone for the launch vehicle is a full wet dress rehearsal on February 2nd, 2026. This involves a full countdown and fuelling of the rocket’s two main stages with 987 tonnes of liquid propellants, with the rehearsal terminating just before engine ignition. The wet dress rehearsal is a final opportunity to ensure all systems and launch / flight personnel handling the launch are ready to go.

Artemis 2 on its way to Launch Complex 39B at Kennedy Space Centre, January 17th,2026. Note the large boxy grey structure on the left of the base of the rocket. The is the combined propellants feed and power transfer mechanism, which proved problematic with leaks during preparations for Artemis 1 in 2022. Credit: AP/John Raoux

It was the wet dress rehearsal that caused numerous problems for NASA with Artemis 1, the uncrewed flight of an Orion vehicle around the Moon in 2022, with repeated leaks occurring in the cryogenic propellant feed connections on the launch platform. These issues, together with a range of other niggles and the arrival of rather inclement weather, forced Artemis 1 to have to return to the VAB three times before it was finally able to launch.

Since then, changes have been made in several key areas – including the propellant feed mechanisms. The hope is therefore that the wet dress rehearsal for Artemis 2 will proceed smoothly as the final pre-flight test, and the green light will be given for a crewed launch attempt, possibly just days after the rehearsal. However, Artemis 2 will not be standing idle on the pad until February 2nd; between now and then there will be a whole series of tests and reviews, all intended to confirm the vehicle’s readiness for flight and ground controllers readiness to manage it.

The crew of Artemis 2 – Canadian astronaut Jeremy Hansen, and NASA astronauts Christina Koch, Victor Glover and Reid Wiseman, prepare to address the media as Artemis 2 crawls by on its way to the launch pad. Credit: NASA

Assuming everything does go smoothly, NASA is currently looking at Friday, February 6th, 2026 as the earliest date on which Artemis 2 could launch, with pretty much daily windows thereafter available through until February 11th, with further windows available in March and April.

As I’ve recently written, Artemis 2 will be an extended flight out to cislunar space over a period of 10 days, during which the 4-person crew of NASA astronauts Reid Wiseman, Victor Glover and Christina Koch and Canadian Space Agency astronaut Jeremy Hansen will thoroughly check-out the Orion Multi-Purpose Crew Vehicle and its fitness as a lunar crew transport vehicle.

These tests will initially be carried out in Earth orbit over a 24-hour period following launch, during which the Orion vehicle – called Integrity – will lift both the apogee and perigee of its orbit before performing an engine burn to place itself into a trans-lunar injection flight and a free return course out to cislunar space, around the Moon and then back to Earth. The transit time between Earth and cislunar space will be some 4 days (as will be the return transit time). This is slightly longer than Apollo generally took to get to the Moon, but this (again) is because Artemis 2 is not heading directly for a close orbit of the Moon, but rather out to the vicinity of space that will eventually be occupied by Gateway Station, where crews will transfer from their Orion vehicle to their lunar lander from Artemis 4 onwards. Thus, this flight sees Integrity fly a similar profile the majority of Artemis crewed missions will experience.

As I’ve also previously noted, this flight will use a free return trajectory, one which simply sends the craft around the Moon and then back on a course for Earth without the need to re-use the vehicle’s primary propulsion. Most importantly of all, it will test a new atmospheric re-entry profile intended to reduced the amount of damage done to the Orion’s vital heat shield as it comes back through Earth’ atmosphere ahead of splashdown.