Balanced on a Cloud Edge in Second Life

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).

SLurl Details

The Dignity of Things in Second Life

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’s touch of sci-fi and art in Second Life

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.

Soulstone, July 2024

SLurl Details

2024 SL SUG meetings week #28 summary: 2K Bakes on Mesh

Infinite Darkness, June 2024 – blog post

The following notes were taken from the Tuesday,  July 9th, 2024 Simulator User Group (SUG) meeting. They form a summary of the items discussed, and are not intended to be a full transcript, and were taken from my chat log. No video this week.

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.
  • These meetings are conducted (as a rule):
  • Meetings are open to anyone with a concern / interest in the above topics, and form one of a series of regular / semi-regular User Group meetings conducted by Linden Lab.
  • Dates and times of all current meetings can be found on the Second Life Public Calendar, and descriptions of meetings are defined on the SL wiki.

Simulator Deployments

  • The SLS Main channel was restarted on Tuesday, July 9th, 2024.
  • On Wednesday, July 10th:
    • The BlueSteel RC is due to be updated with the summer Fun simulator update, which includes the initial Combat 2 updates from Rider Linden.
    • The remaining RC channels will be restarted.
    • However, at the time of writing a last-minute issue with Interest List updates meant the the Bluesteel deployment may be postponed.

SL Viewer Updates

  • Release viewer: version 7.1.8.9375512768, formerly the Graphics Featurettes RC viewer dated June 5 and promoted June 10th.
  • Release channel cohorts (please see my notes on manually installing RC viewer versions if you wish to install any release candidate(s) yourself).
    • WebRTC Voice RC, version 7.1.9.9688089989, July 1.
    • Atlasaurus RC (object take options; improved MOAP URL handling), version 7.1.9.9620320242, June 27.
    • Maintenance B RC (usability updates / imposter changes) 7.1.9.9555137545, June 21.
    • Maintenance C RC (reset skeleton in all viewers), version 7.1.9.9469671545, June 14.
  • Project viewers:
    • None.

2K Bakes On Mesh

Something that people might be excited to hear — we’ve officially started on 2k BOM support. It sounds like an easy thing to do, but it turns out that the service responsible for handling avatar baking hasn’t been touched in many years, and depends on an extremely old Linux viewer fork.

– Pepper Linden

  • Vir Linden has also pointed out that as well as updating the Bake Service (mentioned in Pepper’s comments) it is possible the entire wearable system layer system may also require updating. There is therefore no ETA at present on when this work will be completed.
  • The above led to a discussion on VRAM usage as a result of 2K textures on avatars, matters of Avatar Render Complexity (ARC – already well out of date and also ignores PBR), etc.
    • As a reminder, on PBR viewers, textures should have their resolution scaled to match screen resolution, should should help to some degree with VRAM use.

In Brief

  • It is possible that the implementation od glTF scene imports(once implemented) could lay the foundations for the updated of ARC as well as Land Impact.
  • There is apparently a potential issue with notecard searches and the number of returns generated, which could be in error. Rider Linden is looking into this.
  • There was an extended discussion on texture  / PBR UUIDs, issues with overrides, etc. Unfortunately, most of this went clean over my head.
  • A new feature request for llRegex* functions has been raised and is being tracked by LL.

† 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.

Bryn Oh’s Skyfisher in Second Life

Bryn Oh, Skyfisher, July 2024

July 6th, 2024, saw the opening of the latest immersive installation by Second Life’s foremost and award-winning multimedia and immersive artist, Bryn Oh.

Herself a digital alter-ego – or perhaps digital incarnation might be a better term – of a Toronto-based artist; although I suspect they would prefer to consider Bryn as a personality with standing in her own right and as unfettered as possible from any sense of human identity. Given Bryn’s success over what is more than 15 years, and the recognition her work has gained in digital, virtual and physical spaces – including her work being the subject of a course taught at York University,  Toronto since 2020 -, this view of her being an independent entity is not unreasonable.

Bryn Oh, Skyfisher, July 2024

Much of Bryn’s work exists not only in the virtual, but within a universe of her own creation, stories, themes and characters all wrapped within a unique timeline and travelling through environments and worlds throughout unique yet interconnected. They are also individually and collectively – if to a defined degree – reflections of elements from Bryn’s physical world incarnation.

All of the stories and characters are pieces of my life, and the characters are often portions of my personality. It is like a diary of sorts that takes place in a parallel world to our own where technologies advanced at different speeds.

– Bryn Oh

Bryn Oh, Skyfisher, July 2024

I have been fascinated by Bryn’s work for more than a decade, and have at times attempted to plumb the depths of her work – perhaps at time making presumptions with which she might not agree but has always had the grace not to single out. In 2020 she was certainly kind enough to to discuss her work for this blog (see: Hand and the art of Bryn Oh – in her own words).

With Skyfisher, Bryn presents another chapter in the unfolding stories of some of her familiar – for those who have followed her work  – characters in a further expansion of her universe, which also sees the return of a number of settings and motifs. As such, it is perhaps not so easy to follow in all is complexities as a pert of an ongoing series; however, it is not unfair to say that it also stands – as all of Bryn’s installations do – on its own merits as a story.

Bryn Oh, Skyfisher, July 2024
The Skyfisher wore a headdress fashioned from deer antlers and twigs. Strings with fishing hooks attached hung from them as she walked slowly down the street towards the spot she had gone to many times before. It was an area where winds converged. Gusts from the rooftops and breezes snaking in from the alleyways all met to make a whirlpool of air that lifted the hooks and strings above the ground. They floated behind the Skyfisher, like a sharp nimbus.

– Bryn Oh, The Skyfisher

For those who do wish to recap – as the saying goes – on “the story so far” (although in this case it is more a matter of understanding the backgrounds to some of the characters and the universe as a whole), then Bryn provides a list of videos which encompass the essential storylines, and which I’ve taken the liberty of listing below.

Bryn Oh, Skyfisher, July 2024

In addition, Bryn also recommends watching Standby (2013), a trio of poetic narratives.  To this, I’d also suggest those who really want to gain insight into Bryn’s worlds, I’d suggest a run-through of her own multi-part commentaries.

Bryn Oh, Skyfisher, July 2024
As with The Brittle Epoch, I don’t want to delve into the story of Skyfisher too much; it is a naturally unfolding narrative in which visitors once again follow Flitter and her friends through something of an adventure as they follow the title character through a unique cityscape.

It is essential visitors use the shared environment, and have media enabled and on auto-play; the installation both has unique sound effects and features an English language narrative, once again recorded by Kaneha Atheria.

Bryn Oh, Skyfisher, July 2024

The latter can be heard on entering locations where it is available, or by clicking the white circular “speaker” buttons found at such locations. For those who prefer and / or form whom English is a second language , notecards containing the narrative which can be read or copy / pasted into a suitable translation tool. Click the glowing moths located close the the speaker buttons to obtain the notecards.

I would advise visitors to take their time exploring the routine through the various settings; there is a lot to discover in addition to following the main narrative, some of which might be obvious, some of which – such as various poems by Bryn – might be easily missed (such as the one in a photo booth). There are also references to Bryn’s wider universe waiting as well.

Prize Draw

Bryn Oh’s The Dancer

To mark the opening of Skyfisher, Bryn is holding a prize draw featuring one of her sculptures, The Dancer, valued at US $350. Details are as follows:

  • Tickets can be purchased via the Marketplace at a cost of L$300.
  • The draw will be open through until July 31st, 2024, when the winner will be picked at random.
  • The winner will be contacted, and will need to supply a shipping address. Bryn will ship the statue at no charge to the winner.

The Dancer is cast in bronze and stands approximately 15 cm (six inches).

Rich is story and detail, Skyfisher is another engaging, immersive and presenting a rich tapestry of characters, events and Easter eggs for following of her tales, and one deserving of the time given to exploring it.

Bryn Oh, Skyfisher, July 2024

SLurl Details

2024 SL viewer release summaries week #27

Logos representative only and should not be seen as an endorsement / preference / recommendation

Updates from the week through to Sunday, July 7th, 2024

This summary is generally published every Monday, and is a list of SL viewer / client releases (official and TPV) made during the previous week. When reading it, please note:

  • It is based on my Current Viewer Releases Page, a list of all Second Life viewers and clients that are in popular use (and of which I am aware), and which are recognised as adhering to the TPV Policy. This page includes comprehensive links to download pages, blog notes, release notes, etc., as well as links to any / all reviews of specific viewers / clients made within this blog.
  • By its nature, this summary presented here will always be in arrears, please refer to the Current Viewer Release Page for more up-to-date information.
  • Note that for purposes of length, TPV test viewers, preview / beta viewers / nightly builds are generally not recorded in these summaries.

Official LL Viewers

  • Release viewer: version 7.1.8.9375512768, formerly the Graphics Featurettes RC viewer dated June 5 and promoted June 10th.
  • Release channel cohorts (please see my notes on manually installing RC viewer versions if you wish to install any release candidate(s) yourself).
    • No updates.
  • Project viewers:
    • No updates.

LL Viewer Resources

Third-party Viewers

V6-style

  • No Updates.

V1-style

  • Cool VL Viewer Stable branch updated to version: 1.32.2.3 (PBR) on July 6 – release notes.

Mobile / Other Clients

Additional TPV Resources

Related Links