Wandering a Storywood Sanctuary in Second Life

Storywood Sanctuary, July 2026 – click any image for full size

I was back on my jaunt around the Mainland once more, seeking cafés and coffee houses that offer neat little corners of the Second Life experience. Once again I found myself I Heterocera, but this time south of the atoll compared to my previous visit to take in Hi Cafe.

My destination this time was Storywood Sanctuary, the work of the Wild Abundance team founded and led by Aphiris Moris (Aphiris Mercury).

Storywood Sanctuary, July 2026
Welcome to Storywood Sanctuary! Here, you’re invited to wander through lush landscapes, dream under the shade of ancient trees, and savour a freshly brewed coffee. Enjoy the magic of this haven, where every corner holds a story.

– Storywood Sanctuary greeting

Located just to the north of Mock Heather Road and not far from the lake on the south side of that road, Storywood Sanctuary is one of two locations designed by the Wild Abundance team in close proximity to one another (I’ll be covering the other in an upcoming piece).

Storywood Sanctuary, July 2026

Covering a little over 6,000 square metres, the spot is – as the name suggests – literary themed, focusing on stories and books, and is LGBTQIA+ friendly.

The Landing Point sits within on a trellis-covered deck bearing the location’s name and where books and a table covered in the pages of a manuscript further hint at the setting’s theme. Just mind you don’t wake up Francine as she sleeps close by!

Storywood Sanctuary, July 2026

From here, a path winds through the setting, meandering past little motifs and details related to books or hinting at stories. These are nicely done with, for example, The World of Christopher Robin leaning against a tree stump on which a bear is asleep (possibly from enjoying too much honey?); while just off the path, a large copy of Mary Poppins has fallen open to allow three carousel horses to fly out, recalling a scene from the book (and perhaps more vividly, Disney’s take on the book). Feel free to sit on any of the horse for a photo.

In addition, on the approach to the coffee shop it is possible to see the stone figure of a little girl who might be taken as a certain Alice. Not too far from her and mottled by sunlight, is a glass coffin beneath a tree. Roses grow under its cover, but the reference to a certain story by the Brothers Grimm is clear.

Storywood Sanctuary, July 2026

Along with these motifs is much else to please the eye. There’s the friendly garden troll under the bridge, the flowering books along one bank of the stream and vying for attention with the butterflies made from printed pages. There are animals and birds to be found throughout; there’s tree trunk offering the chance to take and share stories, and more.

Obviously, there are places to sit throughout, from the library / reading room alongside the Landing Point deck all the way through to the coffee shop (and beyond), with some of quite interesting designs (three particularly in keeping with the book theme).

Storywood Sanctuary, July 2026

Not all the places to sit are on the ground or necessarily obvious (again, one of the very booked themed places might not appear to be so but for the brazier with its little fire sitting in front of it) – so taking a good look around as you follow path around the setting is recommended 🙂 .

Beyond the coffee shop is a further garden space available for wandering, a rutting track forming a loop around it while flowers of a more exotic nature grow and a forest carousel turns in time to fairground music, whilst the laughter of children (or wood nymphs?) might be heard by those with local sounds enabled.

Storywood Sanctuary, July 2026

Cosy and charming, Storywood Sanctuary is a place that does exactly what its name implies: takes you into a garden of stories and present a setting in which sanctuary from the pressures of daily life might be found.

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The Irelund Museum of American Art in Second Life

The Irelund Museum of American Art

Back in June 2026, I received an invitation from Rowyn Mariposa (MzStiX) to visit a new endeavour by her fiancée, Pamela Irelund, the Irelund Museum of American Art. It’s taken me over a month to get around to actually visiting – so my apologies to both Rowyn and Pamela for this.

Located within the Second Norway estate – and in fact little more than a couple of good stone throws from where I have my island home, so there was really no excuse for not visiting sooner, given the museum can easily be reached by boat!) – the Irelund Museum occupies a large, modern building of single level design, partially extended by Pamela herself.

The Irelund Museum of American Art

For those arriving by teleport, the Landing Point is located within the inner fountain courtyard of the museum, and it is here that any exploration should begin. For those arriving by boat, take the steps up from the mooring to the the door at the top of the steps, then follow the red carpet in front of you down to where the courtyard opens up on the right.

In all, 10 areas (labelled as rooms) plus a hallway, present American art from across the country’s modern 250-year history. The art is arranged chronologically by room and the rooms proceed in a clockwise manner from Early American Portraits, Hudson River School and Tonalism (located in a blue room to the south-east corner of the building) through to Cinematic Realism and Political Art, with the courtyard offering the museum’s single piece of sculpture: Steppe by Antoni Milkowski and a large reproduction of Dream Garden by Maxfield Parrish and Louis Comfort Tiffany.

The Irelund Museum of American Art

A highly informative catalogue of the museum’s main displays can be found at the large desk in the fountain courtyard. This provides an introduction to the museum, together with biographical thumbnails of all the artists responsible for the pieces on display, again divided by room.

Designed as a HUD, it is a little large to be opened and read when viewing individual pieces, but it can be minimised easily by clicking the eye-with-a-bar icon within the left and right navigations areas. This will close and reduce the catalogue in size; clicking on the catalogue again will open it at the last page viewed (and will do so, even if detached, allowing interrupted visits to be resumed easily).

The Irelund Museum of American Art

Across the fountain courtyard is the Special Exhibitions room, which at the time of my visit this was hosting Fantastic Dreams and Wistful Reality: Maxfield Parrish and Norman Rockwell. A smaller desk just outside this room offers a catalogue specifically for this exhibition, and which operates on the same basis as the one described above. And, incidentally, you can reach Room 1 of the museum’s exhibition spaces by cutting through this space.

In terms of copyright, all of the works through to 1928 are out of copyright; those after that year are within copyright. However, the museum does not sell any of the images, and all are provided for educational / informational purposes, and intentionally presented in low-resolution, thus helping the museum meet the requirements of fair use as defined for copyrighted works under US law.

The Irelund Museum of American Art

A group has been established for the museum for those wishing to keep up with events and special exhibitions, and the joiner can again be found in the fountain courtyard.

The Irelund Museum of American Art is clearly a personal labour of love, built out of knowledge of the subject. It is also highly informative and a pleasure to visit and tour. Within it is a further demonstration of the ability of Second Life to both bring art to an audience which might never otherwise to be able to appreciate all of the pieces as a single exhibition, and as its ability to inform and educate.

The Irelund Museum of American Art

My congratulations to Pamela on her work, and my thanks to Rowyn for the invitation.

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Pususaari’s summer of 2026 in Second Life

Pususaari, July 2026 – click any image for full size

Over the years there have been places within Second Life that have called me back to them again and again, either to write about or simply to enjoy. Currently, one of my favourite places where I find I can do both is Pususaari, the Full region held and designed by Lu and Leelou Von Perkle (Lu Carrillo and LeeLou Graves respectively).

Since it first appeared in SL as a Homestead region design, Pususaari has always been a place of beauty and romance, changing with the seasons but always remaining true to its core.

Pususaari, July 2026
Pususaari is a peaceful island made for wanderers, photographers, dreamers, and curious hearts. Since 2025, it has been a place to explore soft meadows, quiet beaches, animals, hidden corners, old stones, cosy places, and little scenes waiting to become your next story. Come alone, with a friend, or someone special — slow down, look closer, and feel at home.

– Pususaari’s Destination Guide entry

Pususaari, July 2026

For this iteration, Pususaari takes the form of a rugged island with a Mediterranean touch to its architecture. With beaches to the south to particularly catch the Sun and split by a sheer-walled headland, the island sits under a perfect EEP setting (so viewing the region under its Shared Environment is highly recommended).

The Landing Point sits on a wide terrace overlooking the broader of the two southern beaches. It shares the terrace with a large villa serving as a patisserie-come-office-come art gallery (upper floor). There is plenty of outdoor seating on the terrace, whilst steps to one side climb up to the island’s main plateau and the farm occupying its west side.

Pususaari, July 2026

Steps also sit on the other side of the villa, these descending to a flat, paved shoulder of the island, home to the Tipsy Crane tavern (a very appropriate reference to other parts of the island, as will become clear) and the Pususaari store. The latter offers three very reasonably-priced collections of animals: otters (14 in the pack), cats (again, 14 to a pack) and puffins (17 to a pack).

All of the packs are offered with both Blinn-Phong and PBR materials and are copy / modify. When exploring the island it is possible to come across the cats and otters and get a real appreciation for how delightful and well-made they are.

Pususaari, July 2026

From the terrace serving the inn and souvenir store two further sets of steps, one to the southern side of the beach, the other to the beach as it runs up the eastern side of the island toward the northern cliffs.

While there is open ground to be reached beyond the souvenir shop, the best way to reach the uplands of the region is either by following the east beach to where aged steps start to climb up the slopes of the escarpment, or take the steps from the main terrace up to the farm and the go onwards from there.

Pususaari, July 2026

The farm points westwards and is small, but still has a field for dairy cattle and two for growing crops – corn, in this case. Beyond the fields, the land opens up into a wide paddock, home to horses and donkeys, a swing in the shade of a large oak tree offering a place to sit.

The main part of the plateau uplands is given over to a large and quite eye-catching body of water bounded by a sweeping arc of grass and wildflowers running from the farm and around the east side of the water.

Pususaari, July 2026

This lake-sized body has been made into a summer home by red-crowned cranes (hence the reference in the inn’s name), which are happy to share the water with the local otters (and vice-versa). Humans are welcome as well, as there is a cosy little waterside open-fronted shack to one side of the water. Just behind this more steps climb up to the highest point on the island, crowned by standing stones.

The north side of the water forms a shallow arc of waterfalls dropping away to the lowlands. This lowland area is again quite spectacular and can be reached by following – you guessed  🙂 – steps leading down from the horse paddock.

Pususaari, July 2026

The waterfalls have created a further pool of water where more cranes and their young might be found, and which is largely separated from the sea by a wide sweep of land where tough grasses and flowers grow and trees brave what must be at times be rough weather, going by the one that has fallen. There are several places to sit tucked away here, including one among local seals.

The waters from the falls find their way to the sea via a narrow channel they have forced over time, including through an out-thrust of rock which now forms a high arch under which the waters pass. As they do so, they also pass an old fortification, now deserted save for a lone piano within, as it sits facing the sea.

Pususaari, July 2026

Further falls drop away from the highland lake, these facing due north and separated from the others. Headlands on either side of them mean the sea below is potentially a deadly mix of eddies and powerful undercurrents as the tide and waters from the falls mix.

Throughout all of this there are multiple places to sit, high and low. They encompass a large beach house on the eastern sands together with a pergola dipping its toes into the tide; another pergola sitting right at the end of the headland separating the two southern beaches; and another summer house on the smaller and more isolated of these two southern stretches of sand. Oh, and the latter can be reached by following the tunnels carved through the intervening headland (and which also connect to the northern lowlands).

Pususaari, July 2026

As well as places to sit – singles and couples poses liberally mixed throughout – there are also wooden signs dotted around offering the chance to dance. And, of course there are the Pususaari cats. They are quietly spread throughout the island, keeping an eye on all that is going on (even if one does appear to be more interested in the ducklings swimming in the inland waters and carefully remaining outside the reach of swiping paws!).

As I’ve noted, Pususaari has become an established favourite of mine, and with each iteration, Lu and Leelou continue to produce the most remarkable locations to visit. Long may it continue!

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2026 week #29: SL CCUG meeting summary

Hippotropolis Campsite: venue for CCUG meetings
The following notes were taken from:

  • My chat log and audio recording  of the Content Creation User Group (CCUG) meeting of Thursday, July 16th, 2026.
  • Please note that this is not a full transcript of either meeting but a summary of key topics.
Table of Contents

Meeting Purpose

  • The CCUG meeting is for discussion of work related to content creation in Second Life, including current and upcoming LL projects, and encompasses requests or comments from the community, together with related viewer development work.
    • This meeting is generally held on alternate Thursdays at Hippotropolis and is held in a mix of Voice and text chat.
  • Dates and times of meetings are recorded in the SL Public Calendar.

Official Viewer Status

General Updates

  • Viewer 26.3.0 is undergoing “final” bug fixing and testing.
  • Some of the team have started on some of the SL Mesh improvements which have previously been discussed  with a focus on improving workflows using existing tools (e.g. – mesh uploads, etc., not “SL Mesh 2”).
    • Feedback was requested on mesh uploads. Roxie Linden also indicated that the current work will likely be dropped as a viewer alpha build at some point in order to gain further feedback.
    • As has also been previously noted, all mesh work is to be carried out incrementally, rather than being bundled into a single large project.
    • Blend shapes are something that might be considered for mesh, but not as an initial part of the work; right now everything ins foundational.
  • There are CEF improvements inn hand that should help performance (load time, rendering speed) which will help media-on-a-prim (MOAP).
    • A request was made to incorporate MOAP support for transparent background. This was seen as quite interesting and so added to LL’s list for investigation, although it was noted there is currently no planned work for transparency at the moment.
  • The Graphics Care Package (GCP – including Index of Refraction, PBR specular, significantly improved Screen Space Reflections, HDR EEP settings, etc.) viewer is still awaiting attention.
    • Feedback and screen shots relating to an early version of the GCP viewer (when it was still called the Visual Polish viewer) can be found here.
    • Currently, the Mesh workflow improvements are slightly higher on the focus list right now.

General Discussions

  • A broad request was made for further glTF support, with the reply being LL plan to add further glTF updates that make sense “given various limitations”.
  • A request was made for larger prim sizes – this was viewed in terms of prim sizes and their impact on physics, the potential to overlap simulators, etc., they would have to be considered carefully if anything were to be done.
  • The request for a larger colour picker palette was repeated – this looks like it might find its way into the GCP viewer as that is updated.
  • It was asked if it would ever be possible for region holders to place thumbnails of their region terrain a features like roads, etc, onto the Mini-Map view of their regions.
    • This was seen as “interesting” with a side note that it could result in misleading experiences for people, it would need to be given careful consideration.
    • This sparked a general user-led discussion on the Map and Mini-Map (such as being able to upload textures for personal regions in general, both World and Mini maps; having a Mini-Map layer with detailing people could enable / disable, etc.).
  • The second half of the meeting resolved around WIBNIs (“wouldn’t it be nice ifs”) and wish lists of options and capabilities (e.g. having options available for things other than water surrounding a region without having to revert to off-region meshes – possibly something that could be achieved with additional EEP support). As ever, the Feedback Portal and Feature Requests are the way to get ideas looked at.

Next Meeting

Pagan Lane: of art and mythology in Second Life

Souland Gallery, July 2026: Pagan Lane: Collection

Having opened on July 15th, 2026 at Souland Gallery curated by Julana Allen (Julana Teichmann), Collection is a gathering of work by Pagan Lane, bringing his art from the physical world into Second Life.

A multimedia artist, Pagan uses a mix of digital manipulation, photo embellishment and traditional painting in oil and acrylics to create images that are both uniquely expressive and which cover multiple genres from portraiture through abstract and expressionism to the surreal. His work can bring together themes of the mystical and ethereal to the real and the emotive, and can serve to underscore his interests in psychology, the human condition and mythology.

Souland Gallery, July 2026: Pagan Lane: Collection

At first appearing to be a randomly eclectic selection of pieces, Collection serves to illustrate all of the above, although there is a lean towards mythological subjects which I found to be richly engaging in their presentations and interpretations of their subjects.

Take the portrait of Pele, the Hawaiian creator-goddess; her association with fire and volcanism is brought forth in the use of red and black in the background, suggestive of lava flowing and cooling whilst bright splashes of red to the foreground represent fire. Meanwhile, her connection to Hawaii is gently communicated through the fiery red haku le around her head.

Souland Gallery, July 2026: Pagan Lane: Collection

Similarly, one of the two studies of Persephone marvellously captures a key element of her story following her kidnapping and unwilling sojourn within the Underworld. Presenting her within what could be taken as a range of mountains, the image is a strikingly powerful personification of her return to the surface of the world.

Within Nyx and Hemera, meanwhile, the contrast between mother (Nyx, goddess of the night) and daughter (Hermera, goddess of the daytime) and their attributes is beautifully offered in a modern abstracted style where colour and the appearance of the Sun and Moon conveys so much. Alongside of this, Erebus and Aither (husbands to Nyx and Hemera) perfectly encapsulates their opposing forces (darkness and light) in a monochrome piece. These are works which sand both individually and as a pair untied in the stories they convey.

Souland Gallery, July 2026: Pagan Lane: Collection

With Hephaestus and Triton, Pagan offers unique embodiments of the deities they represent, casting them in a whole new light. Triton, for example, foregoes the traditional middle-aged-man-with-beard portrayal and instead presents figure who is younger and vital and alive – as one might expect from a god of the sea. Within Hephaestus we similarly see not a maker of weapons for the other Olympians or a son shunned by his mother and seeking revenge (as in one branch of his mythology); instead we see the face of a young man whose eyes are very much the mirrors of his soul.

I could ramble on; but this is an exhibition to be witnessed first hand – and if you are unfamiliar the the many branches that are the tree of (particularly) Greek mythology, then Collection presents the ancient gods and their attributes in a manner which encourages further exploration of the subject.  And even without such spurring, Collection presents a visual feast of art, each item within it can be appreciated in its own right and for the talents of the artist.

Souland Gallery, July 2026: Pagan Lane: Collection

A genuinely rich and layered exhibition, Collection is not one to be missed.

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Discovering Deception in Second Life

Deception, July 2026 – click any image for full size

Deception is a Full private region designed by Ashaki Hunt (who also appears to be a fan of Cica Ghost 🙂 ) with the assistance of Angelique Haven and Dandy Warhlol (terry Fotherington) on behalf of region holder NiaMarie Simons.

Come enjoy a walk through the Redwoods of Deception. It’s all about relaxing, enjoying nature, and visiting with friends. Stop by the Inn for a game of Cheesy! All are welcome. From the Inn, you can catch the Train to the Valley of Stones and visit the castle ruins.

– Deception Destination Guide entry

Deception, July 2026

This sounds nice and relaxing – almost ordinary. However, Deception is anything but ordinary; there is an eclectic randomness about it that makes it just that little bit different. Not strange or bad or anything like that; quite the reverse in fact. A clue as to why this feeling of quirkiness might make itself known perhaps lies in the region’s About Land description:

A home for those oddities who think friendship, laughter and joy are important necessities in life. Wander around and enjoy a day lost in Deception. 

– Deception About Land Description

Deception, July 2026

Fairly rural in styling – there is what might be regarded as a little hamlet to the north-east of the region – the region folds into itself a potpourri of architectural styles from ancient to modern; so much so that it is nigh impossible to pin down when – or where  – Deception might be.

Turn one way, and it appears as if the setting might be in France; turn another and it might be in the wilds of the North of England or in Scotland at a time when noblemen held sway and lived in great castles. Meanwhile, a (mostly) single track railway line runs around the edge of the region, around which a little diesel car might travel.

Deception, July 2026

Then there’s the fact that within Deception, Jack Sparrow metaphorically rubs shoulders with electric cabs and powered tricycles (by Cica Ghost), where it is possible to run into strange creatures in the woods and huge crows looking ever so slightly worried about  – something and a Nessie-like creature swims the waters while Neolithic standing stones bear African masks. Everything seems to be a melting pot of ideas and elements.

And yet it all works – and quite charmingly so.

Deception, July 2026

Tall mountains surround the setting, adding to the feeling that this is a place cut-off from the world at large, where time flows differently, allowing all of its different facets to exist together and its quirks and oddities to manifest peacefully.

Which is not to say there is no normality to be found – all of the buildings, despite their different geographical styles, are naturally furnished; between the various points of habitation / history within the setting, the landscape unfolds as would many others. Trees give shade to open fields where horse roam, rowing boats bob gently on inland bodies of water; paths offer routes of exploration, gardens offer places of retreat, horses peacefully graze, and so on.

Deception, July 2026

The region is a home role-playing on Saturdays at 13:00 SLT. I didn’t come across specifics of what form this might take during my travels across the region, outside of a book providing information on non-player characters at Greystone Manor, but given the overall eclectic mix of ideas and subjects within Deception, it could be an interesting and fun experience.

As noted above, games tables are to be found at ground level (as is a playable game of garden chess). More are to be found via a neatly hidden-without-being-hidden teleport trapdoor. Also awaiting discovery is the “invisible rope climb” – where it goes (or not) is up to you to discover 🙂 . Just look for it very close to the Landing Point.

Deception, July 2026

In all, Deception is – and pardon the play on words – deceptively engaging. It offers something slightly different in tone and design without going overboard in the name of being “different” and without losing any of its photogenic nature.

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