Category: Exploring Second Life

I recently received an invitation from Nero (NeroRhea Supermarine) to visit her new public setting in Second Life – her first such undertaking offered to everyone to visit and appreciate – entitled OBSIDIA.

Set within roughly a quarter of a Full region leveraging the Land Capacity bonus, OBSIDIA presents an engaging and enigmatic location, which is both highly personal to Nero both in terms of being her first public setting design and the fact that – as she notes herself – she has tended to keep her Second Life to a small circle of friends; thus, presenting her creative intent to an audience across Second Life and beyond the art circles in which she has operated is a daunting exposure.

After more than 17 years, I finally feel the desire to share something with the rest of the world. OBSIDIA is the latest of my visions brought to life in Second Life, a space open to anyone who wishes to experience it. It’s a remote and enigmatic place, suspended between the present and the unknown, somewhere between tranquillity and unease, where reality seems to dissolve. It may feel like an escape from everything, yet there is always a lingering sense that something more awaits, something yet to be discovered. Take your time to explore and enjoy its different areas, designed for private relaxation, contemplation, or intimacy.

– NeroRhea Supermarine

I was immediately drawn to Nero’s description on reading it’s a remote and enigmatic place, suspended between the present and the unknown because I’ve always felt there is something romantic and compelling about visiting a place that might be referred to as being caught somewhere between now and when; so I knew I’d have to hop along and explore – and the region does not disappoint.

Presented using both PBR materials and Blinn-Phong (“legacy”) “fallback” textures / materials (I would recommend using a viewer supporting the former when visiting), OBSIDIA is both marvellously Earth-bound (the dark rocks mindful of a long-cooled volcanic outflow of the kind that might be seen in places like Iceland and Hawaii), whilst the EEP setting overhead combines with the landscape given the setting an otherworldly feel, a place where meteorite streak downwards as a gigantic version of our own Moon dominates the sky.

The Landing Point sits well back to one side of the parcel, not quite tucked under one of the two tall, slender ribbons of rock which separate the parcel from he rest of the region in which it sits. From here, before the entrance to a large structure housing a photographic studio and art gallery (of which more in a moment), arriving visitors are given a commanding view out over the setting and across the open sea bounding the parcel’s two remaining sides. The sound of surf pushing and booming against the rocky shoreline throbs through the air, a dominating presence alongside that of the huge Moon.

Across the desolate landscape directly in front of the Landing Point, a squared shoulder of rock sits between the sea and the familiar forms of three large shipping containers. These and the old water tower just beyond them, seem to help to further anchor the setting as being here on Earth; but then, rising beyond them, and standing somewhat silhouetted against the star-spangled sky, there rises the most curious of lighthouses which beckons the feet to come visit.

Approaching the lighthouse reveals that in order to reach it, it is necessary to climb that shoulder of rock and then cross a bridge. In doing so, this reveals the lighthouse is something of a steampunk / dieselpunk build, the structure partially embedded  in the cinder cone of an extinct volcano, a large engine under it holding it aloft and in place as it turns massive pusher blades. The lighthouse tower itself cannot be accessed, but the drum-like machine room connected to it can be, and a stairway winding up its flank provides access to the flat roof, where places to sit might be found. In a nice touch, the structure sits within its own parcel so that local chat conversations are confined within it.

The same is true from another coastal structure on the north side of the parcel. Taking the form of an elevated, glass-walled house, it offer another quiet retreat within its own parcel, complete with seating both within and underneath it. Between this and the gallery building at the landing point, sits a giant broken cat head. Whether it once stood here alone and complete or was once part of a larger statue is yours to decide; it appears someone is making an attempt to repair it, a scaffold having been wrapped around it, Whilst inside another seating area can be found. This head further reveals the feline element to the setting – cats very much having laid claim to it throughout

The gallery building is home to Nero’s art, at and the time of my visit was displaying Broken, an engaging series of six 3D nude pieces arranged in pairs across the floor of the gallery. These are engaging pieces in their presentation, the figures apparently suspended in Perspex (or glass, given its shattered appearance). No liner notes are  provided, leaving the individual pieces and the collection as a whole open to our interpretation.

With space found across the landscape, indoors and out (including the shipping containers), cats keeping an eye on everything, the sense of individuality within the setting gives it depth and a sense of warmth, whilst encouraging exploration. My thanks to Nero for the invitation!

SLurl Details

• OBSIDIA (Midnight Garden rated Adult)

In July 2023, JimGarand presented a version of his Grauland Homestead region re-titled as Grauvik, a distinctly Scandinavian setting representing a fictional island off the coast of Iceland (see: A touch of Iceland in Second Life).

For early 2025, he now presents a further take on Grauvik in the form of Grauvik 2. It’s a design which retains the rocky, somewhat volcanic look and feel of 2023’s edition, suggesting it still be fictionally located close to Iceland, but which has touches suggestive that it could just as easily be off somewhere like the Norwegian coast. I’ll also note here that Jim has utilised PBR materials in the design and no BP fallbacks, so you’ll need a PBR-capable viewer to appreciate it.

This iteration brings an entirely new design to the island, with the 3D art pieces seen in 2023’s Grauvik entirely absent – which is not to say a 3D artistic presence is entire absent the island, a point I’ll come back to. Instead the island now carrying with it the suggestion of a private retreat; one served by a small dockside area to the north-east. It forms the setting’s Landing Point, and is capable of servicing floatplanes as well as small boats – a de Havilland Canada DHC-2 Beaver of the Grauland Flying Service sits above the slipway.

These docks have been built into the one natural cove on the island, the rocks and slopes around and behind it suggestive that it might sit sheltered from the worst of any bad weather that might sweep over the island. Which is not to say it is the only low-laying point on the island; while the core of the setting sits upon rugged plateau of what might be granite or basaltic rock, there are flatlands around the coast – particularly to the north-west – and cinder beaches suggestive of volcanic sand cling to the coastline sufficiently well enough to allow visitors to completely circumnavigate the island on foot, almost never leaving the sands.

Beside the docks with their large hanger for maintaining visiting aircraft (and perhaps small boats hauled up the slipway on trailers), the island s home to three other significant structures, all designed by Jim.

The first and largest of these is the New Pramma House, and it literally dominates Gruavik 2, sitting as it does on the highest point of the island’s spine capable of comfortably supporting a building. As one might expect from such a position, it presents commanding views to the east and west, and is most easily reached by walking up the volcanic sands of the slope at the southern end of the boat moorings.

This route actually passes below a trail cut along the spine of the island to connect the New Pramma House with the remnant of an old lookout building on a shoulder of rock looking to the east, the black coastal sands below it speared by plugs of rock which have stood firm against the passage of time and tide as sea has clearly conquered the softer rock and earth around them so only they remain.

As well as connecting the main house to the out look-out building, the rough path also branches to provide access to the second largest house on the island as it sits to the south. Crouching on a sturdy foundation of cut and mortared stones, this rectangular cottage is hunched behind a rocky wall cut through be steps running down from the trail, and firmly states that the flat headland on which it sits is its own to command, a large deck extending out from it to the edge of the rock.

Those walking around the coat of the island will actually pass under this cottage by means of a tunnel cutting through the rock below it, passing by way of one of several places to sit scattered across the island. The tunnel will bring explorers to a further stretch of dark beach down to which the path from the top of the island descends by way of wooden board walks hugging the rock, platformed stairs and broad wooden decks.  One of these decks extends out over the sea, in part sheltered by more fingers of rock which rise from the waves and perhaps help break the worse of the sea’s ebb and flow to leave the waters here calm enough for safe bathing and swimming.

It is to the north of these boardwalks and reached via a path of loosely laid planks on the sand, that the third of the houses can be found. Like the others, it is of an ultra-modern, clean look, and it sits within it own gravel surround to offer split-level accommodation as it looks westward. However, it is on the rock-straddled beach extending to the front of this house – and home to numerous seagulls resting their wings – that a curiosity lies.

Ranged over the sand is a scattering of Czech hedgehogs. Are they a remnant of the war time era, originally placed there to prevent tanks and other vehicles from crawling up the beach between the rocks at low tide, or ready to lurk under the waves at high tide awaiting the opportunity to rip out the hulls of unwary landing craft? Perhaps they have been gathered by a dedicated artist and painted against the harm of rust before being deliberately set out in a modern artistic statement? Either option pokes at the imagination.

From here, circling the island on foot is completed around the base of the northern cliffs along a gravel path as it returns visitor to the Landing Point. Or, if you prefer, the path can serve as the start of your explorations! 😀 .

I’ve always enjoyed and appreciated Jim’s builds, but have to confess there is something about Grauvik 2 that really appealed to me; I’m not sure if (again) this is due to the hint of the rugged beauty of Iceland within it (Iceland being one of the two major island countries in the world I absolutely adore visiting), or simply an admiration for the design as a whole (I admit to being particularly drawn to the New Pramma House!).

Not one to miss – the PBR caveat notwithstanding.

SLurl Details

• Grauvik 2 (Liberia Isle, rated Adult)

Isla Enchanted is a charming Homestead region designed by Isla Nebula and currently open to exploration by visitors. It comes with a simple description:

A charming village, nestled in the mountains and beside a peaceful lake, calls for exploration. Wander the area to discover its magical, hidden gardens.

– Isla Enchanted About Land description

Surrounded by mountains, if separated from them by water, the region sits as two contiguous but separate parts. The larger area of the region, mostly low-lying and shouldered by walls of rocky cliffs, is home to the village mentioned in the About Land description. Encompasses the region’s Landing Point, the village comprises little cottages and cabins scattered between fields both cultivated and rich in wildflowers, the way through the landscape marked by a meandering gravel track.

These lowlands are overlooked to the west by  a large plateau topped by two rocky peaks, the larger of which is in turn capped by a large abandoned house. Reached via the track from below switch-backing its way up one side of the plateau, one of these rocky peaks is surrounded by an ouroboros-like stream which, if not exactly eating its own “tail”, is very much chasing its rushing, bubbling self around and around never losing tempo.

Spanned by two bridges – neither of which connect to the outer path as it skirts around the lip of the plateau – the stream’s endless circling is the first aspect of mystery to be found atop the plateau. Two more can be found in the caverns under the two peaks, both connected one to the other by the bridges.

One of the caverns offers a hint of magical goings-on, whilst the other appears to be as mysteriously deserted (outside of stone fireplace and its rising flames) as the house above, perhaps prompting questions as to what might have gone on within both , and why they now appear abandoned. A further hint of magic is to be found tucked behind the two rocky peaks, in the form of a peace meadow with a fairy garden.

Unlike the house up on the peek, the cottages and cabin down in the village are far from abandoned, instead offering themselves as cosily-furnished little retreats, their gardens presenting photogenic vignettes alongside of the fields, all of which – gardens, fields and footpaths are dotted with little touches of details to bring them further to life.

To the east, cliffs throw themselves across the land as a tree-flanked wall seeking to repel invaders, a single arched pathway allowing passage through their bulk. It leads to a marvellous enclosed garden quite magical in its presentation. Here, just past the arch, a rowing boat floats on a sea of flowering grass, mooring lines holding it close the a tree-shaded dock as swans stand guard around it, a shoal of fish pass overhead and taller flower throw their leaves and tendrils upwards like plumes of water frozen as time around them stands still.

Facing these vignettes is a delightful outdoor tea room offering tempting delights whilst surrounded by its own garden. Elsewhere, topiary horses guard a shaded piano and candles burn before a mirror while swings and cup-seats add their own attractiveness to the setting.

Designed in a way to be attractive under a range of environment settings, Isla Enchanted could perhaps benefit from a little more in the way of ambient sounds (bird song from the trees, perhaps?). But that aside, there is no mistaking its tranquil beauty and opportunities for exploration and relaxation.

SLurl Details

• Isla Enchanted (Honeycomb Hills, rated Moderate)

In classical Chinese mythology it was said that immortals dwelt within the Penglai Palace, a place built of gold and silver, surrounded by trees on which jewels grew and within which lay the elixir of life – and thus the goal of explorers sent by Emperor Qin Shi Huang to “recover”. But where, exactly, was this palace?

According to the Shanhai jing (“Classic of Mountains and Seas”), the palace sat atop Mount Penglai, one of three “godly mountains” set within the gulf of the Bohai Sea. However, the Xuanhe fengshi Gaoli tujing (“Illustrated Account of the Embassy to Goryeo in the Xuanhe Era”), Mount Penglai sat on an island “across thousands of league of shallow water” within the Changguo Prefecture, and loosely thought to possibly be the location of modern-day Zhoushan City. Or perhaps Zhoushan Island might have been the point from which those seeking the palace and elixir set off across those many leagues – perhaps as far as Japan, where, according to legend, Xu Fu mistook Mount Fiji to be the fabled mountain of the immortals.

Scholars have debated the likely root of the legendary palace and mountain’s location down the ages, and it has spread its presence to Japan (where it is known as Hōrai), Korea and Vietnam. Fortunately for those of us in Second Life, we don’t have to puzzle mysteries of the Palace; instead we can visit a place that takes its name from the legend. And while it might not be intended as the home of immortals or to location of any marvellous elixir. Rather, it presents a place of tranquil retreat, Tai-Chi, contemplation, Chinese-inspired music and even mixes a little Japanese touch.

Designed by Polees, Peng Lai offers a sense of the legends of Penglai both as a mountainous location as as being on an island, presenting as it does a small complex of buildings surrounded by the peaks of distant mountains as if the rocky islands on which they sit are themselves mountainous peaks, and as if they are built upon rafts of rock floating upon a sea of white cloud. Located within a Mainland parcel of just 2048 sq m, this is an elegant setting, small in size and with a sense of detail that is enticing.

Peng Lai is a fairyland above the clouds, where you can see ancient Chinese art and Taoist culture with architecture, furniture, paintings, decorations of China. You can relax, enjoy music, meditate … and have tea here.

– from the Penglai About Land description

The Landing Point sits as a a literally gateway which, although high in the clouds, is actually the lowest level, a wooden stairway climbing from it to give the impression of ascent further into the heavens, thus presenting the sense of rising into the realm of gods.

At the top of this stairway stands a great carved wheel of stone; a crossroads, if you will on the journey through the setting. To the left as one reaches the stone, a walkway and short set of steps rises to small single-roomed building wherein sits a small curtain-draped shrine facing the door and music and seating to the left and right. Facing this across the rounded stone, and reached via an angled walkway is an open-air railed platform where communal tea might be shared and trees bloom.

The stone wheel offers Tai Chi for up to four, whilst facing the gateway, a  further stairway slopes gently upwards and outwards to where the largest island of rock floats serenely, water tumbling from one side to provide a backdrop to the tea platform. Here stands a grand building, a home to three side-by-side shrines awaiting prayers or meditation, as with the single shrine in the smaller building. Heavy drapes to either side of the shrines, together with lighter curtains help to divide the building into smaller spaces, although these are bereft of furniture, instead offering a shelter place where thoughts might be contemplated in silent pacing along the enclosed corridor.

With trees and shrubs clinging to the rocks to give them both a sense of life and the feeling they are linked – if invisibly – to the surrounding mountains of the enclosing sky sphere, presenting a sense of unity and space as well as that of location. This is further increased by the fact this is a veritable tour de force of work by Deo Rain, Polees’ SL partner.

Deo specialises in historical Chinese architecture,  furnishings décor, and more, and Peng Lai really brings them together and to the fore as to how they might be combined to create a memorable setting, complete with elements from other creators specialising in pieces from the same eras (or close to them) helping to further entice and enhance. Further, those who have Autoplay enabled will be treated to a media track of suitable music playing periodically.

Beautifully presented and with the air of a modern take on a Chinese watercolour painting, Peng Lai is a highly engaging and picturesque visit (with one or two little nods towards the influence Penglai has had on Japanese legends), offering more than the small size of the parcel over which it sits might suggest.

SLurl Details

• Peng Lai (Tyta, rated Moderate)