Author: Inara Pey

Occupying a Full private region leveraging the land capacity bonus available to such regions, NANA Land is the work of Frie Frie (Freecheck) and Nika Snowpaw. The About Land description describes the region as a romantic setting offering the opportunity for meeting friends, exploring, dancing, photography and shopping; whilst this is largely accurate, it also understates all that NASA Land has to offer.

At ground level, where the landing point is to be found, sits a rugged island into which water has cut it way, either inland from the surrounding seas or outwards from the falls and streams which drop or flow from the highlands which make up a part of the island’s sub-tropical form. Flat-topped, these highlands form a pair of broad plateaux, the larger of which is home to the region’s main landing point. This sits within and open-air  café with tables sitting amidst a little sea of grass and flowers which are themselves constrained (for the most part) from flowing down over the cliffs in mimicry of the local waterfalls, by the presence of fences and shrubs.

A slender finger of rock extends out from one side of this plateau to point north and form one half of an arc of rock which cups a beach of golden sand within it steep-sided arms. The remaining half of this curve of rock is formed by the side of the second plateau. This is not quite as tall as the first, but is as equally flat-topped at its far end, allowing it to play host to an architecturally impressive, green-topped building offering views out over the sea on three sides.

Whilst they are connected by a knobbly, forested wrist of rock, the easiest means by which to pass from one plateau to the other is via a long rope bridge paralleling the cliffs as they march along the back of beach below. The café end of this bridge lay close to the one path leading down from the landing point. The latter turns by way mossy paths and wooden walkways to meander down from the café and along one side of a large pool of water fed from falls which also tumble from the rocks above, to reach a humpbacked bridge which allows the route to pass over a narrowed neck of the pool.

From here lay various paths of exploration passing around and through the island. These form tracks and trails of various kinds, winding their way under trees and rocky archways or over bridges and stone slabs are they cross streams and channels flowing through or cutting into the island’s lower reaches. to reaches various points of interest.

The latter range from the aforementioned beach, through a swampy bay to beach houses, cottages and huts which squat within the swamp, cling the the region’s costal areas or sit serenely in fenced grounds on hilltops. There’s also an open-air cinema (where a horse might be taken by those wishing to ride around the island rather than walk), a cave system cutting through the jumble of rock linking the two plateaux, multiple places to sit and spend time, dance machines, camp sites – and a lot more, all of which I will leave to you to discover and enjoy.

Also to be found scattered throughout the region are teleport points. These are generally in the form of standing stones holding living flames within them, although their look can change depending on where you are within the region (as is the case with the wishing well and cat teleport at the landing point). Theses are all networked, providing a quick means to jump between them and to areas of the region which cannot be reached directly on foot.

The latter take the form of a set of sky platforms, three of which  – at the time of my visit, at least – offer settings appropriate for the season. They are “Christmas”, “Winter” and “Winter Shop”. Both “Christmas” and “Winter” sit on that same sky platform, so presenting a contiguous landscape visitors can explore and which encompasses cottages blanketed by snow and with cosy, warm interiors, and a Christmas setting complete with two musical Santas, places to sit and even a miniature golf area with tiny winter themes.

The remaining winter setting is where visitors might find gifts left for them by Nika and Frie, and wander through another snowy landscape. A separate teleport from here provides access to gallery spaces and a little autumnal setting, whilst a further destination on the main teleport network directs visitors to the the rentals platform. Here, sitting with a very tropical setting, might be found beach houses of various sizes, some of which may be available for rent – just be aware that others may well be rented and thus off-limits to the meanderings of visitors.

There are a couple of rough patches awaiting visitors when exploring the ground-level islands, where physics need a little adjustment to present colliding with plants whilst trying to cross bridges or follow trails down into caves, but with a little careful navigation these can be bypassed. Outside of these, NANA Land offers a lot to see and appreciate, the use of sky platforms adding to the richness of exploration.

SLurl Details

• NANA Land (rated Moderate)

Occupying just under an eighth of a full region (which itself leverages the additional land capacity bonus available to private regions) sits Sakura Cranes, as attractive, Japanese / oriental themed setting created by Brian Ravenhurst, and which I recently visited by way of the Second Life Destination Guide. It is actually one of three parcels within the region Brian has designed, but will be the focus of this article – the other two can be reached via the raised walkway which wends its way through a part of Sakura Cranes.

The setting has – according to its About Land description – been inspired by the Takedera Temple, which I believe is a reference / alternate name for the Hôkoku-ji Temple (although the date given in the About Land description differs to that for Hôkoku-ji) – and additionally known as the Bamboo Temple, on account of its position deep within a bamboo garden. Like Hôkoku-ji, Sakura Cranes has its own bamboo feature – a curtain of tall trees which act as a curtain of green running west-to-east between the rocks and walls forming the north-south borders of the parcel.

South of this curtain and sitting high on the cliffs, sits an ancient pavilion guarded by two kitsune foxes as steps climb gracefully down along the instep of the long foot of rock extending northwards from the pavilion’s perch. Torii gates mark the stairway as reaches a raised wooden walkway set over mist-shrouded ground, the mist broken in several places by fingers of rock pointing to the sky. The bell towers of a shine sit either side of the walkway as it reaches another pavilion, this one set between the arms of the bamboo curtain, offering a view over a large body of water fed by dragon fountains and partially shaded by Sakura blossoms.

A second walkway winds through the bamboo trees, this one splitting so that one arm forms the connection to the neighbouring parcels, and the other to span – by way of a slightly off-centre bridge – the water and descend to the lowlands bordering the water on the far side. This northern half of the region presents a rich, calming garden. Gravel and cobble paths wind their way over the grass and down over the rocks and under the boughs of bamboo, Sakura and other trees as then pass between an assortment of buildings.

The garden is reached by another walkway and wooden steps descending from the bridge, a pair of open gates to one side provide access to a small market area, a further gateway providing the means to loop back along the path paralleling the fountain-fed waters, passing under the bridge as it does so.  At the far end of the this path is a shaded place in which to spend time, whilst mid-way along the path stepping-stones pass over the water to reach another place to pass the time playing a Chinese gu zheng within an open-sided pagoda rising from the rippling waters.

Mirroring the stepping stones crossing the water is a second set, these passing over the grass of the gardens to reach a teahouse where another gu zheng sits, together with the opportunity to enjoy some tea and appreciate the artist’s studio on the upper floor.

The tea-house is one of four structures within the low gardens, excluding the little market. Of the remaining three, one is a small shrine sitting next to the teahouse, around which a gravel path loops on its way north. The remaining two, located at the northern extreme of the setting and separated by another curtain of bamboo and a further body of water, are two rental homes. Both were available at the time of my visit, but this might not always be the case, so do please be careful about trespassing on people’s privacy. The waters between these two houses forms a home for a small boat, open to the public and offering another place to pass the time – possibly in contemplation of Buddha as he watches over the water.

With lanterns together with kites floating overhead, Japanese cranes dancing and nesting in or near the waters, and with enough paths winding through the landscape, Sakura Cranes offers a lot to appreciate within its comfortable, small space – and does so without ever feeling overcrowded for its size or in any way enclosed. In other words, it makes for a perfect and relaxing visit.

Recommended!

SLurl Details

• Sakura Cranes (Soundstation, rated Moderate)