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.
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
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.
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.
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).
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.
SLurl Details
- Soulstone (Enchanted Escape, rated Adult)
Inara Pey: Living in a Modemworld