Virtual Ability launches L$250,000 wheelchair design contest in Second Life

via Virtual Ability

Second Life has long held a deserved reputation for assisting people with a wide range of disabilities to share in virtual activities, make friends and connections, and thrive in ways not always available to them in the physical world. As a core part of this, Virtual Ability Inc (VAI) has been continuously active in Second Life for almost two decades.

In doing so, VAI has gained international renown for its annual conferences and symposia – some of which I’ve tried to support through these pages – and is recognised throughout Second Life for its unstinting work to support all those with disabilities who participate in the platform and the rich diversity of opportunities it offers.

More than just a “virtual place,” Virtual Ability is a true community, where individuals who physically live across the globe come together for conversation, learning, social activities, expeditions, and fun. Some take courses; others teach. Some mentor, others are mentored. Members create or build virtual architecture, write books or poetry, perform in plays, DJ, dance, play games, raise virtual gardens and virtual animals, or experience adventures of every type… all in a virtual world, from the comfort of their own computer. Community members bring extremely diverse backgrounds and experiences to the group and many are also active in other virtual world groups.

– From the VAI website

Now, through the generosity of Linden Lab with the donation of L$250,000 (one of four such donations given to deserving organisations announced during SL23B Golden Ticket Giveaway event), VAI has launched Mobility Without Limits, a contest a contest for creators to build wheelchairs that improve accessibility, mobility, expression, and roleplay for Second Life residents, and which offers generous  Linden Dollar prizes of up to L$50,000 to winning entrants.

The Contest

The contest invites Second Life creators to design innovative, full-permission wheelchairs that enhance mobility, self-expression and role-play for residents. Linden Dollar prizes totalling the L$250,000 awarded to VAI by Linden Lab will be presented to winning entrants across four categories of design:

  • Everyday Mobility – practical chairs for daily use. This includes traditional-looking wheelchairs such as those typically found in hospitals, clinics, or care facilities. It may include full-sized or lightweight chairs, elderly-friendly, or other chairs with a standard appearance.
  • Racing and Sports – wheelchairs used in competition or recreation such as marathons, basketball, tennis, etc. They are typically sleeker or more streamlined than traditional chairs. These chairs will be judged higher if they have items such as custom racing animations, speed effects, and/or sports-related accessories.
  • Fantasy and Sci-Fi – for whimsical but usable designs. Potential examples include steampunk, cyberpunk, elven, magical floating chairs, drone/jetpack chairs, retro. Creativity is encouraged!
  • Mobility for Every Avatar – for designs created specifically for avatars whose size or proportions require something beyond a standard wheelchair, including tinies, dinkies, larger avatars, or fantasy and other unique body types.

Wheelchairs should preferably be wearable objects to ensure maximum opportunities for use. However, vehicle-style wheelchairs are not excluded from entry.

Judging

Entries will be judged by a volunteer panel that includes residents who regularly use wheelchairs in-world, experienced Second Life creators, accessibility advocates, and event organisers from the Virtual Ability community.

The judges will evaluate each entry across the criteria of functionality, creativity, appearance, and script/animation integration. Wheelchairs that are easy to use, exhibit appropriately integrated animations, adjustable seating and avatar positioning, adjustable colouring and styling of wheels, cushions or accessories, and compatibility with different body types will score higher.

Winning entries will receive in-world Linden Dollar prizes, and the winning wheelchairs will be provided by Virtual Ability to anyone in the SL community.

Prizes

Within each of the four categories, prizes will be awarded as follows:

  • First prize: L$30,000
  • Second prize: L$15000
  • Third prize: L$5,000
  • Special grand prize across all categories: L$50,000.

Note that all prizes will be made only in Linden Dollars via in-world transfer to the wheelchair’s named creator (as shown via the viewer’s Edit floater).

Requirements for Entry and How to Enter

Requirements

All wheelchairs submitted must be original and created specifically for this contest. Use of pre-fabricated parts in a design is allowed, so long as the wheelchair is substantially new, the builder has transferable rights to all components, and the submitted wheelchair has the permissions listed below.

Collaborative entries are allowed, but any prize awarded will only be paid to the avatar identified as the wheelchair’s creator. It is up to the members of any collaborating groups to ensure the disbursement of winnings among themselves; Virtual Ability Inc., will not be party to any disputes arising there from.

Entries should be made in-world via an Inventory folder bearing a suitable name and containing:

  • A notecard bearing the following information:
    • The entrant’s avatar user name or names (please do not use Display Names).
    • The name of the wheelchair.
    • The contest category being entered.
    • The following language, which represents an agreement to the contest terms and conditions:

I hereby provide a non-exclusive, unrestricted, unconditional, unlimited, worldwide, irrevocable, perpetual, and cost-free right and license to Virtual Ability whereby they may use, copy, display, distribute, or modify my contest entry and all its components in support of Virtual Ability’s accessibility, educational, and community programs, or for any purpose Virtual Ability wishes, free of charge. I confirm that I, the creator, retain all intellectual property rights to my work beyond this license.

  • A full permission (copy, modify, and transfer) version of the wheelchair, plus any in-world accessories designed to be used with it (if applicable).
  • Any required HUD for use with the wheelchair (the HUD and all scripts used within the wheelchair and accessories can be no-modify, but must allow copy and transfer).

In addition, and if entrants so wish, they can include an optional second notecard with brief information about themselves as a wheelchair creator, and which may also include items such as links to their stores (in-world or Marketplace), etc. For winning entrants, these cards will also be included with the relevant wheelchair when it is distributed to residents.

How To Enter

  • Completed entry folders should be passed in-world to the avatar VirtualAbility Gumbo.
  • All entries must be received no later than Wednesday, September 30, 2026.
  • Winners will be announced by Saturday, October 10, 2026.

Further information

  • Full information on the contest, including requirements for entry as noted above and a FAQ addressing likely questions on the contest can be found on the VAI contest page.
  • All enquiries or feedback on the competition should be made to Eme Capalini or Pecos Kidd in-world. If you are an active Discord user, contact either Eme or Pecos for an invite to the contest-specific VAI Discord channel and post comments there.
  • Please note that feedback and enquiries cannot be addressed through this blog.

Commenting on the gift of L$250,000 and the contest, VAI’s President, Gentle Heron said:

On behalf of the Virtual Ability community, I would like to extend our sincere thanks to Linden Lab for their generous L$250,000 donation announced at the recent SL23B Golden Ticket Giveaway event. One of Virtual Ability’s core values is giving back to the Second Life community. We are delighted to announce that we will pay Linden Lab’s generosity forward and use their donation to fund Mobility Without Limits. By funding prizes that will go directly to Second Life creators, we hope to help strengthen the broader virtual world community while expanding the range of mobility options available to residents. 
We are honoured to be recognised in the work we have to help make Second Life more welcoming and accessible for everyone, and to be able to continue to be part of this remarkable world.

– Gentle Heron, President, Virtual Ability, Inc.

Related Links

The Art of Gradient Mesh in Second Life

Galeria Danae: Bjarni Danae – The Art of Gradient Mesh

Gradient mesh is a technique for creating complex colour transitions across a surface. Using a grid of adjustable control points, or nodes, it allows multiple colours to blend smoothly in multiple directions such that they flow and create a sense of shape, light and shadow far more organically than is possible when using more traditional linear, radial, diamond or angular gradients, where the transition is along a line or radiating from a single or central point, and with much finer blending than might be achieved using blur gradient.

Within graphics design, gradient mesh can be used in things like user interface design for apps and web pages, through to creating digital art in a rich variety of styles and genres, and with extraordinary depth. It is a technique particularly effective in producing photo-realistic digital art.

Galeria Danae: Bjarni Danae – The Art of Gradient Mesh

This latter use is amply and marvellously demonstrated by Bjarni Guero Danae (Ominur) at his Galeria Danae, home to his exhibition The Art of Gradient Mesh.

Set within a modern, minimalist skybox space, this is a comprehensive collection of gradient mesh art not just because each piece has been created using the technique, but because each image is shown with its corresponding mesh of control points used to give it colour and depth. Thus, we see both the art and the means by which it was given its final form.

Galeria Danae: Bjarni Danae – The Art of Gradient Mesh

From musical instruments to human studies, cars, bottles, flowers, headwear and more, Bjarni presents the rich tapestry of opportunities the technique presents to create the most eye-catching art. I particularly found the pieces featuring musical instruments particularly engaging, given the eye and skill for manipulation of control points to generate a piece of art might be likened to the skills involved in reading music and playing an instrument.

Some of the pieces are so reach in depth, colour, form and presence it is hard to consider them anything but photographs of real objects. Just take the four images of drinks to the left of the bar or (my personal favourite, given I use one to warm to warm the alcohol  – usually kahlua -when making a liqueur coffee!) the brandy warmer, together with the image looking up at a sculpture.

Galeria Danae: Bjarni Danae – The Art of Gradient Mesh

As to why he creates gradient mesh art, Bjarni gives a personal reason as rich and approachable as the pieces on display:

Gradient mesh work makes the world disappear. It makes noise go quiet. It challenges my creating problem-solving, and being good at this helps me be better at everything else. Yes, it is time-consuming … But at the end, it is the satisfying feeling of accomplishment. It’s what I do to relax after designing for others all day long.

Those are perfectly understandable sentiments; because of them, we are all able to enjoy the pieces displayed at Galeria Danae not just because of the manner in which the reveal the structure of gradient mesh so vividly, but because they are all genuinely and uniquely works of artistic refinement and beauty.

Do be sure to visit!

Galeria Danae: Bjarni Danae – The Art of Gradient Mesh

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A Notable Art Gallery and more in Second Life

Notable Art Gallery, July 2026 – click any image for full size

The delightfully named Perspective Doodles is a Full private region leveraging the Land Capacity available to those regions to present a Group-held setting with multiple elements from ancient ruins through a town-like commercial district and a games-focused spa, and an art gallery.

It was the latter – the Notable Art Gallery – which drew me to the region. The work of Nyte Vargas Siegel Setner (Nyte Vargas), the gallery is designed to offer a rich mix of Second Life and physical world art and photography, poetry and special exhibitions and challenges. And it is extremely well organised and presented.

Notable Art Gallery, July 2026

Sitting within its own garden space, the gallery occupies an imposing conservatory comprising six major rooms all connected by glass spaces and built around two ornate fish ponds. Five of the main rooms and the linking glass-enclosed walks present art, with the foremost room forming the Gallery’s foyer.

The gallery’s programme is a mix of collections by the artists in residence, together with themed exhibitions and and art-related challenges. A schedule on the latter two can be obtained from the desk to the left side of the foyer when entering, along with a Group joiner for those wishing to be kept appraised of future events, challenges and activities. To the right of the foyer is an second desk promoting the artists in residence, all of whom have their collections displayed through most of the rest of the conservatory.

Notable Art Gallery, July 2026

To the rear of the gallery is a lawned garden with some seating space, together with a wall area to one side of the main building which I assume is for outdoor displays – perhaps seeing use during the themed exhibitions and art challenges. I also gather there will be a further exhibition space for child avatars as well.

Beyond the gallery, the region offers several more areas which might be explored, including a town-like commercial distract and the spa mentioned above, the building of both the spa and the town having a Tudor look to them. The spa has a mix of table-top and playable games within it, but being honest, I didn’t really spend too much time at the spa (or the town) – other than to make may way down from the spa to the beach tucked away below it and to spot the 7 Seas Fishing tucked away below the commercial area.

Notable Art Gallery, July 2026

This is because I was somewhat more attracted by the land separating the gallery from the town and spa, together with the ruins to the north-west of the region.

The former comprises both open grazing and a fenced paddock, the open area given over to horses some cattle and a wandering stag saddled for riding, while the fenced paddock is home to more cattle and quietly grazing sheep. Although the saddled stag cannot be ridden, the small stable to one side of the field does offer a horse rezzer for those who would like to take a ride, and there is a bubble rezzer sitting alongside the stable if those wishing to float around the region.

Perspective Doodles: paddock, July 2026

However, the most interesting feature of the open field is the gathering of four glowing portals around a central raised plinth with a spiralling blue light. While the portals may not be actual teleports, they add a sense of mystical intrigue to the setting; why are they here? who might have placed them so, and for what reason?

Meanwhile, the ruins – which can be reached directly from the Gallery’s garden via an archway on their west side – have their own mystery. They are called the Ruins of Eiralith, although I have no idea if this is an intentional reference to The Beginning after the End or not.

Ruins of Eiralith, July 2026

Aged, some with their facing weathered away, guarded by dry stone walls and standing in their own grounds, the ruins have been repurposed into an open-air cathedral for hosting weddings. Wisteria is draped over walls and beams giving the ruins a romantic feel, and I particularly liked the lone arch sitting at the head of steps leading up from the main ruins, standing as if it is the last remnant of a great bell tower.

The mystery of the ruins comes in the form of strange, luminous fungi growing in corners. The growths cast a soft, otherworldly light over their immediate surroundings and their presence adds an otherworldliness to the ruins. Close by, a group of standing stones gives a further sense of antiquity to this part of the region.

Ruins of Eiralith, July 2026

If I’m totally honest, I couldn’t help be feel that the commercial area was perhaps a little at odds with the rest of the region, largely because of the great expanse of the cobbled base on which it stands.

To be fair, I’ve no idea if it is still a work-in-progress, but my impression was that it could do with more to break-up the expanse of cobbles: maybe planters and young trees growing within tree grates and some seating. But that is a personal view; the position of the commercial area is such that it doesn’t overpower the rest of the setting to the point of distraction.

Notable Art Gallery, July 2026

Overall, and as noted above, the gallery is excellently presented with the art rich and varied. The care put into the schedule of exhibitions and events should hopefully encourage repeat visits, and I hope such activities will also be advertised through the likes of the .:SLArt:. Group – something I would most certainly recommend if this is not already the case.

Similarly, the Ruins of Eiralith offer a focal point for photography and quiet, gentle exploration, with a particularly charming place to sit on the very edge of the northern cliffs and offering a view down to the remote beach below. Both the gallery and the ruins make for an engaging visit to Perspective Doodles, with the pastoral feel of the fields and livestock add their own touch to the region.

Notable Art Gallery, July 2026

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Travelling through Binnancumb and a visit to Bellefleurs in Second Life

Binnancumb Village, July 2026 – click any image for full size

In 2018, I visited Bellefleurs, an Elizabethan-styled grand manor house which at that time occupied a Homestead region (see here for more). As I noted in writing about it, it caught my eye when first seeing in the Destination Guide as it immediately put me in mind of Somerset’s Montacute House, a spectacular Elizabethan Renaissance house now operated by the National Trust.

A lot has happened since then. For one thing, Bellefleurs has relocated and, whilst still occupying a Homestead region, it now adjoins a Full private region, the home to the engaging village of Binnancumb.

Bellefleurs and Binnancumb Village, July 2026

The estate and village are the work of India Canning, a woman clearly from my part of the world, and who has an admirable sense of humour going on her Profile (I particularly like the take on a line of Elizabeth I’s Tilbury Address of either August 9 or August 19 –  depending on whether you are using Old Style or New Style calendar references – 1588). Combined, they offer a mix of public and private spaces reproducing the very best of England’s Green and Pleasant Lands.

Spectacular Bellefleurs Great Lodge is the former hunting estate of the Duchesses of Ominum and Demnoncia. This Elizabethan great house offers a curated Renaissance art collection, a Salon Music series, dances, En Garde, and other events.

Bellefleurs description

Bellefleurs, The Great Lodge, July 2026

At the time of my first visit, the grand house – which in part was indeed inspired by Montacute House – was the hereditary seat of the Canning Family and home of the Duchesses of Ominum, and came with a fascinating backstory which marvellously wove the Cannings into the fabric of English history. The region on which the house sat at that time was also home to the House Sakura Companion Guild.

In its current form, the Canning Family seem to have faded into history, and House Sakura appears to be no longer active. This leaves the house under the care and oversight of the Duchesses of Ominum and Demnoncia, as noted in its description above, whose largesse allows us to continues to enjoy and appreciate it.

Bellefleurs, The Great Lodge, July 2026

Nevertheless, none of the historical care put into the house has been lost. Rooms are exquisitely furnished in the manner of such a stately home surviving down the centuries. Fine tapestries hang from panelled walls, each one a reproduction of an actually tapestry from the 15th and 16th centuries, while chandeliers hang from ceilings.

This is very much a museum of art from the Renaissance period, the upper floor of the house particularly rich in carefully scaled and presented pieces, although there are some to be found on the ground floor along hallways and within some rooms.

Bellefleurs and Binnancumb Village, July 2026

Events within the Music Salon are advertised as being held every Sunday at 19:00 SLT, and there are regular En Garde (fencing) activities with the grounds behind the house, where eight pistes (including one for training) can be found.

Also to be found at the rear of the house is a beautifully garden and manicured lawns, with trimmed boxwood hedging providing boundaries to the immediate grounds of the house on either side. Just outside of the eastern most of there, where one of the two roads to Binnancumb Village might be found (the other being at the front of the estate at the landing Point), where steps also lead down to a small cove-like beach.

Binnancumb Village, July 2026

The walk (or ride for those making use of the horse rezzer at the Bellefleurs’ Landing Point – perhaps one might also be put on the western road?) to the village travels first past farmlands. These provide a mix of crops and open grazing for sheep and cattle, the fields neatly marked out by low walls.

Binnancumb village itself is again a perfect representation of England’s heart, buildings of age and independent styling blending together in a community space mixing private residences (very clearly marked to avoid trespass) with public destinations readily accessible to visitors. Chief among the latter is the Abbey of St. Hild (currently under restoration, but available on a limited basis for weddings), the tithe barn just across the road (available on a limited basis for events), and the local pub.

Binnancumb Village, July 2026

The pub, the Lion & Bear is a grand Tudor-style building dating to 1487. It sits at the northern end of the east road up from Bellefleurs, just before it starts to loop around part of the village to meet the west road. On offer at the pub are events, films, dancing, chess and more fencing. A spur road from here leads down to a little port, house to the main rental office.

I generally try not to take direct photos of private residences within regions open to the public so as not to encourage trespass (although sometimes, the layout of a location means they might creep into the background of images). However, there are time when they fit the theme so ideally, they are hard to ignore, so a couple of pictures of the houses in the village do appear here.

Binnancumb Village, July 2026

Bellefleurs and Binnancumb Village are excellently conceived and executed. Neither is intended as a role-play region nor should they be taken as such. They are places to explore and enjoy, the natural beauty of the design highly photogenic.

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2026 week #30: SL Open Source UG Summary

Hippotropolis Theatre: home of the OSD/TPVD meeting
The following notes were taken from:

  • My chat log of the Open-Source User Group (OSUG) meeting held on Friday, July 24, 2026, together with my chat log of that meeting.
  • Pantera’s video of the meeting (embedded at the end of this article) – my thanks to her for providing it.
Table of Contents

Meeting Purpose

  • The Open Source User Group (OSUG) meeting is an open discussion of Second Life development, including but not limited to open source contributions, third-party viewer development and policy, and current open source programs.
  • This meeting is generally held twice a month on a Friday, at 13:00 SLT at the Hippotropolis Theatre and is generally text chat only.
  • Dates and times of meetings are recorded in the SL Public Calendar.

Official Viewer Status

  • Default viewer: Flat UI – 26.2.0.25386466510,  -“flat” UI and font update, dated May.
  • Second Life Project Viewers – Lua Editor Alpha viewer 6.1.0.23768336784, April 29.

Viewer Notes

  • 26.3 is heading towards a beta  / Release Candidate release, but with the texture streaming work removed. The latter will now form a part of the Graphics Care Package (GCP) viewer.
  • The next alpha version of the Lua viewer (with Linux support) is seem to appear “soon” – it is just awaiting the OK to be allowed into the wild.
  • Overall, the viewer release schedule is “a bit up in the air right now”. The hoped-for plan remains:
    • 26.3 issued as an RC and progressing to release status.
    • Lua/Linux progressing to beta / RC shortly after 26.3 releases release status and then itself moving to release. However, this is not guaranteed as yet.
    • On-going work with GCP so that it can be more fully discussed at the next OSUG.
  • Vcpkg (under-the-hood viewer packaging to replace the current Autobuild process used to build the viewer):
    • Currently, LL is trying to figure out where to land this work, but currently it is unlikely to be introduced with the GCP viewer builds.
    • One thought is to try to land it in develop at some point in the coming months.
    • However, feedback was requested from TPV developers relying on the existing autobuild infrastructure as to what they would like as the preferred path towards adoption.
    • Geenz requested TPV Developers should contact him with their views; in lieu of feedback, he’ll also post something on this on Github .

The SL Wiki

From Kyle Linden:

We’re reviving the Wiki. Our goals are improved moderation tools, a theme refresh and it will be the new central repository for Lua documentation, complimenting the LSL Portal in the Wiki. That means we also want to re-open editor access to all SL accounts that have logged in world. Enabling the Wiki to be a Wiki. Along with a more robust moderation toolset we’d also like to have dedicated residents who are interested in helping, be part of the human moderation team. Please IM me if interested.
  • Kyle also noted that the Second Life Creation Portal is to take a “new direction” and that the scripting information currently there is to be migrated to the SL Wiki. 

Other Items

  • Monty Linden noted that Lua/Luau documentation is sparse at the moment, so LL will be leaning on external materials and contributions to support Lua.
    • In this regard, those interested should refer to Suzanna’s SLua Guide, developed by Suzanna  Linn, which includes documentation and details on in-world Lua scripting classes.
  • It has been noted that there is code on the SL Github repositories written around CEF to replace the current plugin model.
    • The advice was given to keep whatever the new plugin architecture might be running in a separate process.
    • Linking directly the CEF library to the viewer was seen as causing issues with memory allocations as CEF/Chromium uses its own allocator; would expose the viewer to all of the vulnerabilities and exploits discovered weekly in Chrome; open the viewer to crashing each time CEF crashes.
    • Additional concerns were raised on this, including the idea that perhaps LL should investigate a means to push CEF updates to all users, regardless of the viewer they are using.
    • Callum Linden indicated that the work in the SL Github referenced is a research project – LL are looking at ways to improve memory and speed + cookie sharing with CEF that would remove some of the issues associated with it. However, the concerns raised were noted.
    • This led to a technical discussion on CEF and how best to approach its use in the viewer- please refer to the video.
  • Geenz noted the work to simplify the means by which developers can contribute code to LL (e.g. shifting from a Contributor License Agreement (CLA) to a DCO – Developer Certificate of Origin) has been on hold due to time and availability, but he hopes to be able to get back to it in the near future.

Next Meeting

Of New Santorini and Lost Gardens in Second Life

New Santorini, July 2026 – click any image for full size

Santorini is the largest island of an archipelago in the southern Aegean Sea. Officially called Thira (Thera in classic Greek), the island is world-renowned for the brilliant, white-washed walls of its buildings – perhaps most keenly exemplified by photographs of the principal city, Fira.

Within Second Life, New Santorini is renowned for being a part of the Calas Galadhon estate, operated by Tymus Tenk and Truck Meredith and a team of talented supporters. Inspired by the physical world’s Santorini, it is a place I last visited in 2019, just after its return to Second Life after an absence of around 3.5 years.

New Santorini, July 2026

At that time, Ty and Truck were still debating how to further develop the regions – Eriador and Erebor – in which Santorini and the Lost Gardens are located. As such, and with the passage of a further seven years(!), I felt it was high time I dropped back in to see what has happened.

New Santorini sits at the eastern extreme of the Calas Galadhon estate – itself a favourite location of mine, oft covered in this blog. It can be reached via direct teleport to a Landing Point sitting a brief walk away from the town, or via one of two routes linking both New Santorini and the Lost Gardens of Thera with the rest of the Calas Estate.

New Santorini, July 2026

One of these links is a causeway running out along the north side of the Bay of Bel, whilst the second take the form of a bridge connecting the Gulf of Lune, and thence up the southern island of the Bay of Bel. Both routes can be travelled on foot or horseback – they are both a part of the Calas Galadhon horse trail, and if you’ve never been horse riding in Calas Galadhon, it is an absolute must, again as I’ve written about in the past. You can either use your own horse or one from the many rezzers available throughout the parklands.

Along both of the routes out to New Santorini are villas which are open to the public, with the more southern from the Gulf of Lune passing by way of the Villa Eirini with its hilltop Zen garden, whilst also offering a teasing glimpse of some of the submerged ruins of the Lost Gardens of Thera.

New Santorini, July 2026
Like its physical word inspiration, New Santorini sits atop a tall escarpment rising from the sea. Whether this is part of a caldera wall or not is entirely up to you to decide; either way, the whitewashed houses rise up from the rocks rich in vegetation, steps offer the way up to the buildings from a waterside plaza where balloon and underwater tours might be taken, with the steps pausing first at the local church.

It is here that I should mention that all of the buildings within New Santorini are fully furnished and decorated, all in a style fully in keeping with the location, and all are open to the public. There are no private rentals within the setting, so buildings can be explored as much as New Santorini’s alleys and footways.

New Santorini, July 2026

The latter pass around, between and in front of the houses and buildings as they sit clustered together. Alleyways form canyons of whitewashed walls and blue-tiled steps which rise and fall to provide access to more and more of this engaging little town.

Many of the houses have balconies before them offering views out over the surrounding waters and across to the rest of Calas Galadhon. There are also two large terraces. One is located towards the middle of the town where it extends out over the roofs of the houses below. Backed by a small café it has plenty of outdoors seating and room for dancing whilst offering a grand view out over the bay below.

New Santorini, July 2026

The second terrace is located at the eastern end of the houses and forms another rooftop space. Reached via a spiral stair, it forms a delightful retreat, complete with a small roof garden centre on a statue of a satyr and his female lover.

This terrace is quite my favourite spot, rich in the colours of summer, watched over by a trio of friendly French Bulldogs and with a big, cosy sofa which can be shared with friends.

New Santorini, July 2026

Below the town and running across the front of the escarpment on which New Santorini sits, is a long bridge reach around to a western headland. The later points a sandy finger south to the Phoenix stage as it looks back towards New Santorini. Watched over by a large statue of Poseidon, the Phoenix is home to many of the events organised and presented by the Calas team, and a teleport up to another venue – the 1950s-style Calas Skate-o-Rama – can be found toward the end of the walk leading to it.

The western end of New Santorini’s island used to be an area of ancient ruins, perhaps destroyed by an earthquake only to leave parts of arched walls, some standing, some partially collapsed. Some still remain, but a portion of this area has been reclaimed and built upon to become home to a couple of enterprising businesses presumably catering to the beach below them.

New Santorini, July 2026

The open-end oval of the bay caught within the sweep of New Santorini and the Phoenix headland forms the first part of the extensive Lost Gardens of Thera, an absolute must-see for any visit.

The Gardens can be enjoyed in many ways – merfolk are especially welcome, but swimmers and scuba divers can also freely explore, whilst ancient steps just off the causeway leading out from the Landing Point allow those on foot easy access to the gardens (and allow those who take the submarine tour with a way to climb back up to dry land at the end of the tour). Note that scuba gear can be obtained from a free vendor towards the bottom end of these steps.

New Santorini, July 2026

The submarine tour is really the best way to gain a good view of the entire Lost Gardens and the sea floor beyond them. It can be found just below the terrace in front of the steps leading up to New Santorini. Tours take around 20 minutes and are really worthwhile.

Capable of sitting individuals or couples, the submarine is a very Steampunkian-come-wind-up take on the Disney Nautilus from 20,000 Leagues Under the Sea. To use it, simply sit on board, set your desired pose(s) then touch the hull to get started (you will likely have to adjust the position of your camera as well).  It might take a few seconds before the submarine starts moving; presumably it is winding itself up – the key to its propulsion system sticks out the back and serve as the propeller!

New Santorini, July 2026

The 20-minute balloon tour, meanwhile will carry passengers around New Santorini and beyond. Once seated in a balloon, touch the top of the envelope to get started. After circling New Santorini and the Lost Garden it will take passengers further over the parklands, eventually depositing them in the heart of Calas Galadhon – so if you specifically want to see New Santorini after TPing / riding there but are also interested in the balloon tour, be sure to take the latter after you’ve wandered the town and explored the Lost Gardens!

Calas Galadhon is a joy to visit wherever you choose to set down. It is possibly the longest-running, privately held public park in Second Life, providing no fewer than 14 publicly-accessible regions to explore, none of them restricted by private residences or similar, as well as providing a range of weekly music events. And, of course, there are also the special Calas seasonal regions for Halloween and Christmas.

New Santorini, July 2026

Calas Galadhon continues to exist through the generosity of visitors to the parklands; so if you enjoy visiting New Santorini or any other part of the parklands, please do consider making a donation towards the estate’s continued presence in SL.

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