Second Life’s STÖMOL: a review

From STÖMOL

Warning: if you have not seen STÖMOL, be aware this article does contain spoilers! So if you don’t want your experience spoiled, I suggest you click this link and catch it before you read any further!

Friday, July 24th, 2020 saw the official public première of STÖMOL, a feature-length science fiction machinima filmed entirely in Second Life. Written, directed, edited and produced by Huckleberry Hax, the film also stars Hax in the titular role of Epi Stömol, a private investigator / hunter, with Caitlin Tobias as Waarheid (and who also serves as the film’s assistant director and publicist), Ylva as Verity Certain, Boudicca Amat as Istinito Tatsache, Anthony Wesburn as Adevaru, and Mich Michabo as The Quill.

Set some 40 years into the future, the film combines elements of the graphic novel with those of noir-style films to unfold a tale framed by the search for two missing coders, and which folds into itself questions on the nature of truth and reality in a world impacted by climate change and the control of conglomerates.

On the surface, the story appears straightforward enough: attractive, mysterious woman hires PI / Hunter to locate her missing adopted son. Along the way, the PI encounters another hunter, Waarheid, who is looking for her missing niece – and both boy and girl appear to be two halves of the same puzzle: coders called The Eye and The Quill respectively, who could unlock both the reason for the climate catastrophe impacting the Earth – and also could hold the keys to both reality and our perception of the truth.

“It is an intimate thing to kill someone, especially when you get to see them taking you in with their eyes in that final second of life, knowing it was you who has just taken everything from them. There is nothing you can see that come even close to seeing that” – Epi Stömol. Screen caps from STÖMOL.

Agreeing to seek the girl if Waarheid attempts to locate the boy, Stömol sets about his task, a shadowy, helmeted figure tracking his movements. Whether he is aware of this or not isn’t clear, but Stömol does find the girl – and has an initial encounter with the helmeted figure in the process. Opting not to inform Waarheid of his find, ostensibly to prevent her from ending her search for the boy, Stömol has a further encounter with the mysterious helmeted one, confirming him to be Adevaru. Attempting to strike a deal, Adevaru reveals the true value of the two coders – giving Stömol  pause for thought.

Keeping to the bargain, Waarheid, informs Stömol she has located the boy, who is being held against his will. A rescue attempt is made, only to apparently fail, a kidnapper escaping with the boy. This set the film up for a sharp plot twist that is genuinely surprising and unexpected, in the process moving us to the final denouement, which in turn brings the story full circle to connect neatly with the opening sequence.

All very easy to follow. However, this simple sounding narrative actually lies within a much more complex story, one that might be summed up in asking the question just what is truth?

Waarheid. Screen cap from STÖMOL.

This is exactly what Stömol does as the film opens, mulling over both that and the nature of reality.

Stamp your feet on the ground; down three fingers of whiskey; put a cigarette in your mouth and light it. Is any one of these things real? Is any one of these things “the truth”? Or is truth just a story we create so that things seem to make sense? The line that joins the dots up into a picture that we can understand. We think each dot can only lead to one other; but what if every dot leads to a thousand others, and a million different pictures can be drawn?

– Epi Stömol

Presented in terms of the action that follows these ruminations – the dispatch of an unknown individual carrying an automatic weapon – it’s easy to simply view Stömol’s words as merely reflective of that action; indeed, with a nice slight of narrative, we’re encouraged to do so; but the fact is with this opening statement the film’s focal point is set – and, again, indirectly, a hint is given about Stömol himself.

This element of “truth” being at the core of the film is revealed in other subtle ways as well. Take the names of the principal players Stömol encounters: Verity Certain (itself a play on words), Istinito Tatache, Waarheid – all are words for “truth” and / or the state or quality of being true in their language of origin (English, Croatian and Dutch). Even Adevaru would appear to be a play on Adevărul, Romanian for truth. Similarly, The Eye and The Quill are not randomly chosen names for the two missing coders: the eye is the organ that sees the truth, whilst the quill is the tool by which the truth can be recorded.

It is this layering of elements in which STÖMOL is lifted above being a”simple” tale (although it can still be enjoyed as such), giving it more of a novel-like feel. Similarly, the broader production values evident in the film also help to present it as more of a motion picture than a machinima. Good use is made of framing – over-the-shoulder shots, cutaways, close-ups, all provide depth to STÖMOL.

There are subtleties in approach that give the film added richness. As noted, the twist towards the end of the story is presented in a manner that is so entirely unexpected, I doubt anyone could see it coming. There are also ambiguities scattered throughout that add a certain edge to Stömol. Take the outcome of the rescue attempt: did it really fail, or did Stömol allow the kidnapper to escape with the boy so he might remove Waarheid as a potential rival and thus leaving open his path to having sole control over the Quill and the Eye? And what of the comment about making a gift to the man killed in the opening sequence, is not a new light on this cast within the film’s ending and Stömol’s comments about controlling the truth through The Quill and The Eye?

An encounter with Adevaru. Screen cap from STÖMOL.

However, it would be remiss to say STÖMOL is not without its warts. Whilst relatively few, they do jar when they happen – such as the fight scene with Täuschung (another clever name – this time meaning “deception” or “to deceive”; a shame it didn’t go anywhere). It appears to have been included because it had been shot before the core of the story had been settled, and the fight couldn’t be readily re-filmed to better fit the narrative. Thus we’re left with a character that pops up and dies without saying a word and without serving any other purpose than to facilitate a fight.

The narration can also be unsettling. Delivered without cadence, it is peppered with unnatural pauses in delivery that can grate to the point of spoiling enjoyment. A case in point: early in the film Stömol walks the streets in a 4½-minute segment during which he delivers less than a minute of voice-over in total. This is painfully drawn out across the 4½-minutes with clumsy, mid-statement pauses up to 20 seconds in length. It’s a sequence that could have been edited to around 90-100 seconds without losing any of its dramatic edge whilst facilitating a far more fluid narrative delivery.

Elsewhere, the film offers ome nice hat-tips to its major sci-fi influences: Blade Runner and Blade Runner 2049. These range from the obvious – the use of Zee9’s Drune designs  (Bladerunner) plus the atmospheric effects (aka Blade Runner 2049) – through the the more subtle: watching the robotic major domo march into Verity Certain’s pool area ahead of Stömol, I couldn’t help but think of Sebastian’s robotic playmates greeting him on his homecoming. Stömol’s use of a noodle bar also sits as a nod towards Deckhard in Blade Runner.

Overall, STÖMOL is a creditable first outing into feature-length filming in Second Life. Yes it has some faults – name me a film that doesn’t, and technique can always be polished. Certainly, the warts don’t prevent the film from packing a satisfying punch at the end whilst achieving what it sets out to do: entertain.

Oh – and when watching, make sure you do so through the credits: there’s an MCU-style tag scene that offers a hint of what might come in the future.

Here’s the link for the film again.

Winter Moon’s scenic beauty in Second Life

Winter Moon, July 2020 – click any image for full size

Annie Brightstar recently and indirectly reminded me that it’s been nigh-on two years since our last visit to Dream Shadowcry’s Homestead region, Winter Moon and that as such, a return visit was much overdue.

Dream’s designs are always places that draw lovers, romanticists, grid travellers and photographers; rich in detail, perfectly  designed and steeped in evocative elements, they’ve never yet failed to capture the eye at the heart – and this latest iteration is no exception, returning as it does to one of Dream’s themes of balancing land and water in a way they is both natural and visually engaging.

 

Winter Moon, July 2020

For this build, Dream presents a circle of islands, each sitting between the surrounding sea and a broad lagoon caught within them. Such is the shape of the two larger islands that it’s hard not to see this as the rim of an ancient crater, the crown of a volcanic mound that once reared its head above the waves, only to fall silent at some point in the past, its walls then beaten down over the aeons by wind, rain and sea until in time they in part collapsed, allowing the sea to rush in and fill the extinct crater bowl, the last remnants of the one proud walls now restricted to the north and west of the setting, where high cliffs rise.

The landing point for the setting sits to the south-west, on a slender finger of an overgrown walkway that reaches out from the largest of the islands to tickle a low mound of rock that has been used as the foundation of a lighthouse (the lighthouse being something of a motif for several of Dream’s Winter Moon designs). A second walkway, this one with it paving still very much intact and resistant to the grasses that have overgrown its twin, points eastward to reach the second of the large islands at it arcs from south to north on the east side of the region.

Winter Moon, July 2020

Predominantly low-lying, the island raises a sinuous, wooded spine perhaps as much at 10 metres above the waters either side, prior to dipping down to a sand bar that shows every indication of being the next point where the sea will overcome the land and cut a new channel into the lagoon, running between the wooded spine and the narrow curtain of rock that risks above the sand at the island’s northern end.

Here, in a sign that the waters around the islands tend to be generally calm, a board walk steps out over the waters snaking over the shallows to pass around the sheer cliffs of the larger island’s northern extent to eventually meet with the beaches that hug the feet of  those same cliffs. Passing around the northern side of the table cliffs, the path then proceeds onwards, using a more rudimentary board walk to step over the water flowing outside from the cliffs as it drops over a number of the great falls that adorn the high rocks.

Winter Moon, July 2020

From here it is possible to follow either the beach around the north and west sides of the major island and back to the old walkway, or pass over the centre of the island, taking the path through a strange ravine and the woodlands beyond to reach the same point. As simple as either route sounds, both are worth exploring because there is a wealth of detail to be found along both.

For the adventurous, a second board walk extends out over the eastern waters of the lagoon from a point close to the one mentioned above. this stretches to where a pair of narrow screens of rock rise from the water like the prow of a ship. they guard a narrow path that connects the board walk to a small island crowned by the spread of an ancient oak-like tree.

 

Winter Moon, July 2020

One of the great attractions of Dream’s builds is the sense of age and purpose given them – and this is again true here, particularly with regards the many aged stairways, complete with broken or damage balustrades, that help connect different parts of the islands. Their presence suggest that this place was once one to a people at peace with both lands and sea, with the many scattered statues and carvings adding to this feeling as one explores, together with the gentle ringing of wind chimes.  Even the singing happiness of an old phonograph isn’t out of place, offering as it does and echo of more recent times past with some classic oldies being played.

With a well-rounded soundscape, lots of details I’ve barely touched upon (go fine the chandeliers and all the places to sit and relax- alone or with someone special) for yourself!), this iteration of Winter Moon is idyllically sublime.

Winter Moon, July 2020

SLurl Details

Gen Con: sneaking a peek in Second Life

Part of the VRazeTheBar Gen Con Experience Welcome Centre, reproducing the Indiana Convention Centre entrance, which is replicated in full within the event regions

It’s now just a week before GenCon 2020 opens its on-line and virtual doors to gamers. The largest tabletop-game convention in North America by both attendance (almost 70,000 in 2019) and number of events, Gen Con features everything from traditional pen-and-paper games to computer games by way of role-playing games, miniature war games, strategy games, board and card games, to live-action role-play – and more.

Traditionally held over four days in down town Indianapolis, Indiana, where it is focused on the Indiana Convention Centre, Gen Con has – like so many other large scale gatherings – been forced to change tack for 2020, courtesy of the SARS-CoV-2 virus, and as I noted in Coming to Second Life: Gen Con “the best four days in gaming”, for 2020 Gen Con will be taking place on-line across a number of platforms – and it will also be going virtual with a presence within Second Life.

Called VRazeTheBar Virtual Gen Con Experience, the Second Life event is being developed by solution provider VRazeTheBar, who are in working closely with Gen Con to ensure the convention is fully and strongly represented in-world.

Given it is both a week since my first report on the event and just a week from opening, event organisers Alesia Clardy (AleisaPM in-world) and Ron Clifton (RCArchitect in-world), respectively VRrazeTheBar’s Creative Director and Technology Lead, allowed me to hop back and see how things are coming along.

We’ve made some minor changes since we last chatted. The Welcome Centre will now be remaining in its own location on Mainland, rather than moving here, and will remain open for folk who are not registered for the event, or who misplace where they are supposed to be. We’ll have guides there to provide assistance to visitors throughout the four days of the event. Second Life users will also be able to visit it for information on registering for the event and then getting to the main event regions.

– Alesia Clardy (AleisaPM in-world), VRazeTheBar

Part of the VRazeTheBar Gen Con Experience: the Fantasy games area
Taking place over the four days of Thursday, July 30th through Sunday August 2nd, VRazeTheBar Virtual Gen Con Experience features a full schedule of activities for gamers and attendees spread across four regions collectively divided into themed areas defined by altitude, with levels on the ground, at 500m, 1,000m and 1,500m.

The latter is devoted to gaming areas, the level split between sci-fi, fantasy, steampunk, medieval, and renaissance areas built around a central arrival, greeting area.

We’ll be running the games here. some will be open to whoever wants to play, others will be lead by our Second Life event Games Masters (SLeGMs). When an SLeGM activity is in progress, access will be restricted to the registered players and the GM and Host. When not in use for a specific game, attendees will be free to wander through through and explore – we even have some horse rezzers for those wishing to try their hand at riding in SL!

– Alesia discussing the 1500m level at the VRazeTheBar Gen Con Experience

Part of the VRazeTheBar Gen Con Experience: a table-top game in the Medieval area

Meanwhile, at the 500m level, is a reproduction of down town Indianapolis, a place where those who regularly attend Gen Con in the physical world can feel at home, relax and generally socialise. The build includes a reproductions of the convention centre that is the focal-point for the physical world event, and the Union Station, where social activities take place.

To help people get in the mood for the main event, the VRazeTheBar will be hosting a pre-convention dance for registered attendees on Friday, July 24th, between 17:00 and 19:00 SLT. It will take place in the Union Station building in-world,  and fancy dress is encouraged with prizes for the best costume / best look. The event will also be live streamed as a part of GenCon Online’s pre-event activities.

Getting around so large an environment could be confusing for those unfamiliar with Second Life, so the VRazeTheBar team have utilised Second Life Experience keys to establish easy, HUD-based teleporting. Arrivals within the regions will receive an invite to join the experience and receive the HUD, which will be auto-removed when they leave / log-off, as per any other experience, and replaced automatically on their return.

Part of the VRazeTheBar Gen Con Experience: a part of the Sci-Fi area (the “Inara Pyramid”! – no, nothing to do with me, rather part of a link to the TV series Firefly

As I noted last time around, attendance at the event requires registration through the Gen Con website – and this includes Second Life users. Registration is mostly free, although there is a nominal US $2.00 fee for some special events, mandated as a part of Gen Con Online’s registration requirements. Whilst visiting VRazeTheBar Gen Con Experience, attendees will have the opportunity of picking up an in-world Gen Con tee shirt, a backpack and other goodies.

I’ll have a further update on things, including details of the opening event and the special guest who will be attending ahead of the opening next week. In the meantime, once again my thanks to Alesia and Ron for their time and attention.

However, if you’d like to learn more before then, tune-in to Lab Gab at 11:00am SLT on Friday, July 24rh, when Strawberry Linden will be chatting to Alesia and Ron – read more here. Or, if you prefer, hop over the the Welcome Centre!

Links and SLurl

Stand for Justice: US $11K+ for BLM-related charities

Stand for Justice

At the start of June 2020, and thanks to a post by Linden Lab, I learned about Stand For Justice, an Second Life event organised to raise funds for the charities Black Lives Matter, Black Visions Collective, Campaign Zero, the National Police Accountability Project, and a Split Bail Fund benefiting 38+ bail funds across the United States (see: Stand for Justice in Second Life).

Over 100 SL brands and stores joined the event, with 100% of all sales to be donated equally among the supported charities and organisations. The event closed its doors at the end of June, and during the first part of July, the funds raised with cashed-out from Second Life and distributed to the supported charities. On July 16th, the organisers announced the final pay-out of funds raised had been made.

In all, a total of US $11,159.64 was raised by the event, after process credit fees. However, by the time the event closed and donations were ready to be made, the Black Visions Collective has ceased accepting funds. A poll of Stand For Justice group members was therefore taken for alternate charities to whom a donation could be made, resulting in the nomination of the National Institute for Criminal Justice Reform, a non-profit organisation providing technical assistance, consulting, research, and organisational development in the fields of juvenile and criminal justice, youth development, and violence prevention.

The five donations came to US $2,231.93 each. A full breakdown of payments and receipts can be found on the Stand for Justice website, and the actual transfers of funds from the Stand for Justice account to the charities was recorded via a You Tube live stream.

Additional Links

The beauty of steam machines in Second Life

Kondor Art Centre: Hermes Kondor, July 2020

The Tejo Power Station, located in the Belém district of Lisbon, Portugal, is regarded as one of the most beautiful examples of Portuguese industrial architecture from the first half of the 20th century.

Occupying the site of a thermoelectric plant first built in 1909 on the banks of the Rio Tejo, the building as it is seen today was first built in 1941, and provided power to the city through until the early 1970s, undergoing expansion over that time.

Kondor Art Centre: Hermes Kondor, July 2020

Encompassing architectural styles that run from art-nouveau to classicism, the power station was declared a major Portuguese heritage centre in 1986, and in 1990 became the home of the Electricity Museum, celebrating its role in bringing electrical power to Lisbon. It is in this capacity that Hermes Kondor visited it, along with his camera, returning with photographs of the building’s machinery, some 28 of which his has placed on display at the Kondor Art Centre.

And while this may sound like a boring subject – believe me it is not. The bunkers, pressure chambers, pipes, valves and metal walkways of the station’s machinery within the museum have been lovingly restored and maintained, and Hermes has captured all of this in incredible detail.

Kondor Art Centre: Hermes Kondor, July 2020

Through an exquisite use of depth-of field, macro focus, angle, framing and light, Hermes presents these machines and their individual part as living entities. From threaded nut to valves to pressure vessels to the complexity of the larger machines, the crisp detail found within each photograph is stunningly exceptional.

Displayed within a modern skybox setting that itself has a clean industrial feel to it and that perfectly complements the art on display, this is a genuinely engaging exhibition that fully captures the history and beauty of these remarkable machines.

Kondor Art Centre: Hermes Kondor, July 2020

SLurl Details

Glitch Social in Second Life

Glitch Social, July 2020 – click any image for full size

Note: Glitch Social has closed; as such SLurls are removed from this post.

Glitch Social is a public space developed by KaidenTray, owner of the Glitch brand, and who is also a region designer / Second Life photographer. Located on a 1/4 region parcel within a Full region, it is offered as beach-front hang-out for people to enjoy, complete with a range of activities to partake and places to simply sit down and relax.

The landing point is located towards the southern edge of the parcel and sits above a fast-flowing stream and right on top of a little picnic area with a bonfire that may or may not be lit when you arrive. The stream is an odd little beast, lying as it does on a raised arc of land than falls away it either end such that the stream appears to be following both eat and north before dropped down into a depression fed on its far side by more waterfalls, and south and west to were it splashes down a lip of rock into a much wider, deeper pool of water that is also served by a series of large falls erupting from the surrounding rocky hills.

Glitch Social, July 2020

This large pool offers the first hint of recreational options in the parcel. Once you’ve passed the black bear and her cub as they stand on the far side of the stream, a structure somewhat like a diving board  extends an arm over the water, dangling various rope climbs abov the waves, with poses available on them with a right-click. Rubber rings also float on the water for those who fancy a dip.

Just behind the landing point and hidden from it by bushes, a set of stone steps wind up the hill from the grassy knoll between “diving board” and picnic area. Rising along the slope in a gentle arc, it offers a way up to a large house and yard. While this may at first seem to be a private dwelling, it actually appears to be open to the public: a sign on one of the other routes up to it from the beach – of which more anon – offers a welcome to visitors as they approach the front yard area of the house.

Glitch Social, July 2020

A sprawling setting, the house squats rather uncomfortably on mesh landforms (and in one place is in need of a measure of support as it does so!) surrounded by a mix of gravel, vegetable garden, wild grass and chickens. The house is comfortably furnished, again with opportunities for couples and groups to gather, sit and chat indoors or out, those opting for the latter possibly coming under the watchful eyes of a heron perched at the edge of the large stone pond sitting on the front gravel.

Despite its elevation, the house is set far enough back on is perch so that a screen of weeping willow and maple trees hide it from the beach below, and vice versa – although admittedly the high dormer roof of the house does raise itself sufficiently enough to be seen through the trees and bushes from below. Three tiers of stone steps connect the front yard of the house with the beach, these being the way up to the house marked by a welcoming sign mentioned earlier.

Glitch Social, July 2020

A third way from / to the house sits on its north side, where a rock path slopes down to a cinder path and boats docks. The path pushes through a narrow ravine of rock to link up to a meadow sitting back from the beach as it curves east and north around the land. The north western end of the docks are marked by a squat lighthouse that appears to be hiding behind a tall shoulder of tock, rather than giving warning of its presence.  Alongside of it, the cinder track turns sharply inland to climb up the hill before the cliffs, passing between them and the house.

The top of this climb is marked by a café / music venue built over a shelf of rock and looking down onto the large pool – so much so, in fact, that the daring can use the platform extending over the water from one side of the venue’s deck to do some spectacular high diving into the waters. For those less inclined to daring-do, the deck and café offer a further place for relaxation and passing the time.

Glitch Social, July 2020

With bumpers boats available in the waters by the beach, a camp site in the meadow and little details tucked away here and there, Glitch Social has much to recommend it, all wrapped in pleasing sound scape.