Logos representative only and should not be seen as an endorsement / preference / recommendation
Updates from the week ending Sunday, January 30th, 2022
This summary is generally published every Monday, and is a list of SL viewer / client releases (official and TPV) made during the previous week. When reading it, please note:
It is based on my Current Viewer Releases Page, a list of all Second Life viewers and clients that are in popular use (and of which I am aware), and which are recognised as adhering to the TPV Policy. This page includes comprehensive links to download pages, blog notes, release notes, etc., as well as links to any / all reviews of specific viewers / clients made within this blog.
By its nature, this summary presented here will always be in arrears, please refer to the Current Viewer Release Page for more up-to-date information.
Note that for purposes of length, TPV test viewers, preview / beta viewers / nightly builds are generally not recorded in these summaries.
Official LL Viewers
Release viewer: Mac Voice hotfix viewer 6.5.2.567427, dated January 13 – no change.
Release channel cohorts:
No updates.
Project viewers:
Performance Improvements project viewer updated to version 6.6.0.567604, on January 24.
Amore Italiano, January 2022 – click any image for full size
February is almost upon us and with its arrival, many people’s thoughts will turn to love, romance – or at least to new friendships and what they might bring. And those who are seeking or have and would like to share any of the three with loved ones could do no better than to take a trip to Amore Italiano, a Full region using the Private island LI bonus, held by Mr Lukas Aduviri (Aduviri) and his partner Mrs Emma Aduviri (CheekyEmma) whose childhood memories serve to guide builder Lily Cloud.
Bringing together multiple aspects of Italy, from its long coast to its rolling green hills; with touches of famous landmarks, villas, and historical elements that speak to the country’s history, and piazzas and terraces that we often regard as “typically Italian” with their fountains and outdoor café seating, this is a place rich in life and romance.
Amore Italiano, January 2022
Now, admittedly, at the time of my visit parts of the region were still a work-in-progress, but these shouldn’t deter visitors from dropping in, as there is a lot to see and appreciate – and the fact that work is still underway mark this as a place that is growing in appeal and depth. There is no enforced landing point for the region – but visitors do best if they take the one offers in the region’s heart and the SLurls given here. Sitting within the town square, it is where visitors can learn about the region’s special events for the month of romance.
The square, surrounded by the neat façades of Italian townhouses, is dominated by a large church that looks out across it and its fountains to where broad stairways and paved, raised walkway lead the way to where a stone pavilion looks out over the open sea, a fitting venue for the weddings the region is in part intended to host. But whilst the pavilion might be the actual focal point for weddings, the walk from the church down to it makes a fine processional way.
Amore Italiano, January 2022
Beyond the town are multiple places to explore – some of which, as noted, are still in a state of flux. To the south-west a tall replica of St Mark’s Campanile rises into the sky, so high that clouds cling to its side. Located on its own island, the tower sits within the crenelated curtain walls of what might have once been a castle but which is now, thanks to the corner falls and the pool below them, forms a further romantic setting.
Those who prefer can a walk along the path that runs above the local canal to the south of the town. This canal connects a stream falling from the eastern hills the sea to the west and is spanned by the broad bridge. Along the waterside way are plenty of places to sit and enjoy another staple of Italy – an expresso or other coffee drink, to be supped under the shade of octagonal parasols – whilst across the bridge sits an upmarket restaurant sitting within the buildings and courtyard of what might have nonce been a grand country villa, but which now offers a further a further soupçon of romance and relaxation.
Amore Italiano, January 2022
Steps from one end of the canal path rise into the western hills to join a path that runs along the hilltops and around to the north. Here the hills gently descend to where a little wooden bridge spans a second stream to curl around and reach another romantic setting (still under construction at the time of my visit), a second stone bridge offering a route back to the pavilion and its promenade walk.
The landing point also offers a teleport board for those wishing to hop to the major points of interest, and this plus the information boards located with it reveal further attractions to the region, such as the Pantie Hunt. Part of a broader charity event being held on behalf of Relay for Life of Second Life, this offers clues to points of interest, each one with a further clue and a chapter of a story of romance between couples. Collect all the clues, and you gain entry into the charity prize draw.
Amore Italiano, January 2022
Several more charity activities can be found on the That’s Amore sky platform. Here, organised in association with the One More Light RFL of Second Life team (as is the Pantie Hunt), one can find a number of auctions (and offer oneself up as a prize!) or purchase some of the items on sale. All of the proceeds from the auctions and the sales go directly to RFL of SL. Those visiting the sky platform can also visit the That’s Amore Café and the Silkywood bar with its music space. The auctions all run through until February 11th, 2022, so there’s still plenty of time to tour and enter, should the mood take you.
Nicely detailed, with walks, cuddle spots and opportunities for photography, Amore Italiano offers much, even if you are not drawn by romance and love on their own.
Vibes Gallery: Hermes Kondor – It’s All About the Sea
I first encountered the physical world photography of Hermes Kondor back in 2020, when he presented a magnificent select of photographs centred on the Tejo Power Station, Lisbon, Portugal, one of the country’s great heritage centres and home to the Electricity Museum (see: The beauty of steam machines in Second Life).
I was, to say the least, immediately smitten by his work: his use of lighting, colour, composition, together with an avoidance of post-processing, these were images inherently and natural captivating. As such, while his focus within Second Life since that time has been establishing the Kondor Arts Centre as a multi-facet arts hub, I have always been excited when I learn that he is exhibiting his own work in-world.
And so, while I could not make the opening at Eviana Raider’s Vibes Gallery, I was keen to hop over and visit It’s All About theSea as soon as life offered me the time to fully immerse myself in Hermes’ latest exhibition.
Vibes Gallery: Hermes Kondor – It’s All About the Sea
For almost our entire history, humankind has had a relationship with the sea. It has been a source of food, a vast spread of blue that has called us to try to reach across its far horizon to touch whatever might lay beyond; it has romanced us with its mysteries and terrified us with it power, It has challenged our urge to conquer and master – if ever we could master so powerful and capricious a force. But, we have also sailed the seas of the world, and learned to harness their power; we have received their bounty and sought to use their power and beauty as a means to partake of sport.
All of this is very much captured in this exhibition, which Hermes has cleverly split into three individual sections within the gallery’s three halls, allowing him to bring forth specific elements of our relationship with the sea.
Within hall 7, Hermes presents Sea & Waves, a magnificent series of 11 photographs focused on the rolling power of breakers and whitecaps as they hurl themselves through the coastal shallows to batter and strike the shore. These are the kind of waves that are fearsome yet fascinating; the directly represent the sheer power the sea holds – and in a way, it’s anger at land’s temerity in trying to confront it and stem its ebb and flow; an action which is at times foolhardy: as the fine grains of sand that form the beaches of our coastlines and island reminds us, the sea is both patient and relentless, and given time, she will wear land down.
Vibes Gallery: Hermes Kondor – It’s All About the Sea
In some of these images we can see beyond the curl of wave and sweep of foam to a glittering expanse of ocean stretching out to hazy horizons of the kind that have called to us throughout time to reach towards and beyond. These views are further underscored by the opening stanza of Emily Dickenson’s And if the Sea ShouldPart underscores the inherent challenge offered by these waves and those far horizons.
In Hall 8, reached via a connecting walkway, the study of waves and the idea of challenge continue, but are presented in an entirely different manner. Here, within a further eleven images, we are presented with Surfer, simply stunning images of surfers taking on and using the power of waves, riding them from initial roll through to where the water repeatedly kisses the shore before retreating once more to re-gather its strength. Thus, through these images, Hermes carries us to a place where our relationship with the sea is bound within the sporting challenge of trying to master its power and demonstrate skill and artistry within its rolling thunder; a love affair between Man and wave that is again carefully amplified through the words of Fernando Pessoa.
Vibes Gallery: Hermes Kondor – It’s All About the Sea
The images in Halls 7 and 8 are utterly captivating not only for their subject matter, but in the sheer skill Hermes has used in taking them. The clarity with which he has captured roiling white anger of wave crests as they curl over deep blue-green troughs; and retained the natural blue-green colour of the troughs themselves that call forth thoughts of the depths of the oceans is just stunning, as is the clarity with which Hermes has caught the faces of the surfers. Nor is that all; looking at these pictures one cannot help but hear the roaring boom of the sea’s coastal voice and feel the fine spray of salt carried from wave tops to shore on the accompanying winds.
Across the courtyard in Hall 9, is a series of 15 images that are again utterly masterful in their framing, colour and focus. Beach Workers differs somewhat from Sea & Waves and Surfers, as there is very much a narrative flow to the 15 pieces within it; a story of the sea and its place in our lives as a source of livelihood and of sustenance – and not just for humans. To the left, on entering the hall are five images depicting the life and work of coastal fishermen, taking to the sea against the rolling and split of early-morning waves to cast their nets to seek whatever bounty the waters below might yield, before returning as the Sun lowers itself towards the horizon, and the work of taking the catch and clearing / drying the nets begins.
Vibes Gallery: Hermes Kondor – It’s All About the Sea
This is a story that continues through the five images to the right of the hall’s entrance, where the work gains interlopers in the form of gulls and seabirds, perhaps alerted by the commotion on the beach and the scent of fish carried in the breeze, and who have arrived to see what they might get away with helping themselves to. Both of these arms of the gallery then give way to the final five images to the rear, where the fishermen and their wives, their work now done for the day, have mostly retreated from the sands to leave them free for the birds to claim, together with whatever thy might find forgotten or ignored by the fisher folk.
Each and every one of these images is utterly extraordinary in the depth of life it contains, be it aboard the little boats, pushed from the sands and riding their way over the incoming breakers or the swirling, fluttering masses of gulls wheeling in to seek their share of food. Within each picture again, not only is there a beauty of an individual scene, there is a rich suggestion of sound and smell that lifts each one from the level of a “mere” picture to a complete experience / story of life.
Vibes Gallery: Hermes Kondor – It’s All About the Sea
With its three interwoven but unique elements, It’s All About the Sea is not only a magnificent celebration of the sea and our relationship with it; it is a triumphal tour de force of the eye and hand of a truly gifted photographer and an exhibition not to be missed.
Grauland, January 2022 – blog postThe following notes were taken from my audio recording and chat log of the Content Creation User Group (CCUG) meeting held on Thursday, January 27th 2022 at 13:00 SLT. These meetings are chaired by Vir Linden, and meeting dates can be obtained from the SL Public Calendar.
Available Viewers
The Performance Improvements project viewer updated to version 6.6.0.567604, on Wednesday, January 26th.
The rest of the official viewers remain thus:
Release viewer: version version 6.5.2.567427 – Mac Voice hotfix viewer, January 13 – no change.
Maintenance RC viewer, version 6.5.3.567451, issued on January 20th, combining the Jenever and Koaliang Maintenance viewers.
The Tracy Integration RC viewer version 6.4.23.563771 (dated Friday, November 5) issued Tuesday, November 9.
Project viewers:
Mesh Optimizer project viewer, version 6.5.2.566858, dated January 5, issued after January 10.
Performance Floater project viewer, version 6.4.23.562625, issued September 2.
Legacy Profiles viewer, version 6.4.11.550519, dated October 26, 2020.
Copy / Paste viewer, version 6.3.5.533365, dated December 9, 2019.
General Viewer Notes
The Maintenance J+K RC viewer remains the most likely RC to move to de facto release status.
Fix for Long-Standing Animations Bug-11194
BUG-11194 “First frame of uploaded animations is triplicated” has been a long-standing issue (with workarounds) for uploaded BVH animations.
Aech Linden (a further transferee from High Fidelity) has been looking at the issue and developing a fix, although it involve a behavioural change for newly-uploaded
The explanation was garbled due to an network issue, but it appears the crux of the matter has been due to the way SL handles .BVH animations at upload, there have been two extra frame intervals added to the animation run-time, leading to errors in playback.
The fix is to remove the addition of these frame intervals (which occur at the start of the animation with zero interpolation.
There is a concern from the Lab that doing it unannounced could cause problems for new BVH uploads that include any workaround in anticipation of hitting the bug. Hence the heads-up on the change.
It was noted that a lot of pose stands BVN animations of just one frame, and the proposed fix might result in these giving “random” results from a pose when new .BVH files are uploaded and placed in them by creators (particularly those using the in-world Anypose tool).
The fix will only impact new BVH animations uploaded to SL; it will not affect existing BH animations that have been uploaded.
The general feeling at the meeting was that most animators in SL use .ANIM rather than .BVH.
Given some of the confusion around the use of .BVH files, it is possible this change will be subject to a project viewer offered up for animators to poke at and provide feedback.
Animation Priorities and Capabilities
The ability to set the animation at run-time (rather than relying on the priority set aby the creator) to allow uses to adjust priorities between the animations that are using to avoid conflicts. Nothing is currently planned on this by the Lab, but it has been noted as a reasonable request.
It was noted that Firestorm has added the priority and other animation information the the animation playback floater.
Additional animation information Firestorm added to the animation playback floater
The core of the discussion focused on options for enabling animation priority changes (and other changes – such as animation speed) were discussed.
Changing the animation speed brings with it its own problems, so was tabled.
For priority, a manual capability + scripted capabilities were discussed, together with the potential to have options defined by list parameters supplied via the simulator.
No conclusions were drawn as to what might be attempted in the future (the animation system is not subject to any planned work) – although it was acknowledged that allowing the animation priority to be displayed by the viewer a-la Firestorm, should be a relatively simple change, were LL to opt for it.
In-World Build Tools
There have been numerous requests for the in-world build tools to be updated / improved. Currently, there is no project for this work, but it is something about which feedback was sought.
The request was specifically couched in terms of “limited but powerful” updates – so nothing along the lines of implementing a blender-like toolset within the viewer.
Feedback included, but was not limited to:
A “snap to” option in the existing build tools. (e.g. so a bookcase could be “snapped” against a room wall without having to be manually positioned).
The ability for reactors to offer “snap together” kits users can put together (and presumably mod as they go). This would be a more major capability with the ability to define connection points between items.
Options to amending particle and prim text properties directly (+ pivot points).
More complex asset items that allow “holes” for windows / doors.
A visual node system for in-world to allow people to code anything “super quick” (e.g. elements that contain scripted behaviours that can be put together / used in objects, rather than having to write text scripts).
Terrain as a prim (the prim is a heightmap texture when used).
A form of EEP setting that can be used as a backdrop / “surround” around skyboxes (like a cityscape or mountains in the distance) rather than having to use massive textured sculpties.
Support for Marvelous Designer (MD) clothing manipulation (as used by Sansar) was suggested. However, Runitai Linden, who worked on the MD implementation for Sansar described it as technically “not a great fit” for integration into Second Life on the grounds it didn’t work well in a 2D view using a mouse.
There has been some talk in LL about hidden surface removal on avatars (e.g. if a part of the body is covered by clothing, remove it rather than expecting it to be manually alpha’d out). However, there are complexities in doing this that may not end up as a “win” if some kind of ability were to be implemented.
In Brief
Custom pivot points (note: this was apparently subject to a lengthy discussion at the previous CCUG meeting, which I was unable to attend, so some context from these notes may be missing).
Rider linden has been working on simulator support for custom pivot points in avatar meshes. There is still some work to be dome, so there is no time frame when this work may surface on Agni.
Custom pivots can be set (and accepted) both at mesh upload or via LSL.
The latter part of the meeting was a technical discussion on the avatar skeleton, the morph skeleton, blend shapes, options for overhauling the avatar system, none of which are current projects.
Runitai did indicate LL is thinking about is replacing / augmenting the entire avatar imposter system – which is not particularly performant as it can cause viewer frame spikes when someone is camming around and causing avatars in their view to imposter, etc. This would see avatars + their entire outfit that would be impostered undergo hidden surface removal and have all attached meshes and materials baked into one meh material which would then be decimated down to as few draw calls and triangles as possible and then render that rather than an imposter.
It was confirmed in the meeting that PBR is to be a project, but no time frames on when it will reach a point of visibility.
Perpetuity, January 2022 – click any image for full size
I’m starting this piece with an apology; back on July 2021, I visited Perpetuity, a Full region designed by Tamara Sierota and Camis Sierota (Camis Lee) – see In Perpetuity in Second Life. Following that piece, and in November 2021, Tamara e-mailed me with an invite to make a return visit to the region, which had been redressed for winter and – of particular interest to me, as she noted – carries an elven theme as well.
Unfortunately, I completely missed the e-mail and invite, only stumbling across it when catching up on some overdue filing and sorting. Ergo, I’m only now getting to writing about Perpetuity in its winter guise, and therefore offer apologies to Tamara and Camis for my tardiness in doing so.
Perpetuity, January 2022
To be honest, I do regret not having visited sooner; as someone with a deep love of Tolkien’s mythology and tales (from The Hobbit through to Unfinished Tales as well as Tree and Leaf, The Adventures of Tom Bombadil and so on), I was captivated by the setting from the moment I arrived at the landing point on the east side of the region. Not that this is a place that is “exclusively Tolkien”, so to speak – as a fantasy / elven setting, it casts its net wide; so it should appeal to those who many not be as enamoured with Tolkien’s writings but who enjoy winter and / or fantasy settings in general.
Certainly, the fact that this is a winter setting is a part of the setting’s magic. Possibly because of Tolkien (or fables in general), it’s likely that most of us associate elves with warmth, the greenery of woodlands in the spring and summer, etc. So in presenting a clear elven theme that sits within a wintery shell of ice, frost and snow-capped mountains, perpetuity carries us to another realm entirely; one that realm captures and holds the eye and the imagination.
Perpetuity, January 2022
Sitting on what at first might look to be a headland extending outwards into and semi-frozen waters of a mountainous coastline (to the west the land doesn’t quite merge with the off-region mountains, but lies close enough to give that impression), this iteration of Perpetuity sits as place that, but for the time of year, would be rich in the colours of woods and trees. Throughout the setting, can be found great twisted trunks of trees which in warmer months would hold aloft canopies of leaves to shade the broad paths that pass under them and offer places of rest away from the brightness and warmth of a summer’s Sun. Similarly, scattered across the region and along its edge stand copses and strands of birch and other trees that, when heavy with leaf, would draw curtains of greenery around the setting and between its buildings as if to drape them is a sense of privacy and natural separation of the world beyond.
Winter Magic – A place for quiet moments and photography with areas to bring your partner or to come alone and relax surrounded by nature in all it’s beauty.
– Perpetuity’s About Land description, January 2022
Perpetuity, January 2022
However, caught in the depths of winter as they are, these trees lie wrapped in coats of frost, their bare branches still raised aloft and splayed towards the sky, but only able to cast spindly shadows over path, terrace and courtyard, the stones of which all lay dusted with snow. Linked by stairs and bridge, these broad paths make circumnavigation of the island easy, naturally carrying visitors from place to place, and building to building, revealing all whilst also retaining some secrets that lie waiting to be found.
Watched over by the slender spires of a graceful castle that rise from the top of that high central mesa, the majority of the buildings lying within the setting are all of a distinctly elven look; the only potential exception being the more blocky, angular form of a more formidable castle to the north-west.
Perpetuity, January 2022
Furnished throughout, these are buildings that speak to a close-knit community, presenting living spaces, places for gathering (indoors and out) and places of ceremony and / or magic. As might be expected from an elven enclave, both art and music are represented here, and the entire design of the setting carries within it a natural sense of peace. Even the most casual glance around will reveal that considerable care has been put into ensuring this sense of harmony flows throughout, complete with touches here and there that help to both anchor it somewhat in Tolkien’s mythology whilst at the same time, naturally separating the two.
Take, for example, the presence of the Argonath. In Tolkien’s original tale, these huge statues represented Isildur and Anárion, the sons of Elendil, but within Peter’s Jackson’s 2001 The Lord of the Rings: The Fellowship of the Ring, Anárion was replaced by Elendil, who is also represented here (indicated by the fact he is holding the blade Narsil in his right hand). Thus, these statues offer a direct link with Tolkien’s tales, particularly calling reference to the Last Alliance of Elves and Men as symbolised by Elendil’s presence.
Perpetuity, January 2022
However, floating above and a short distance from them is a flying ship that removes this setting entirely from anything Tolkien presented in her core myths, allowing this iteration of Perpetuity to both acknowledge Tolkien’s influence on our thinking around elven folk and stand independently from it is a realm with its own history.
But whether you are a lover of fantasy or not, this is a setting that is beautifully considered and executed; a place that is a genuine joy to explore and photograph (join the local group for rezzing rights, if required – a help support Perpetuity in the process). For those who do wish to visit and witness this iteration of the region’s design, I understand from Tamara that it will remain available through most of February, after which the region is liable to be redressed for spring.
I always wait for the rain, that thin, cold, bright … pleasant rain. I remember that day on the path in the birch forest. The rain was falling light, cold, illuminated by sunbeams, a light mist rising from the ground. Motionless to admire, my memories were born then among white clouds, white cloud of sheets.
With these words, Terrygold introduces us to her January 2022 art exhibition Rain. In some respects, it is another personal exhibit that follows on from Empty Chairs (see: Terrygold’s Empty Chairs: remembrance in Second Life), offering a story that touches on both Terrygold’s art and life.
Terrygold: Rain – January 2022
From the above introduction, we are led along a passage suggestive of that path through the birch woods. It leads us past elements that add depth and presence to itself, delivering us to places where a story unfolds through images and words. As with Empty Chairs a part of the theme here circles around the fact of loss; unlike Empty Chairs, however, Rain doesn’t just encompass the impact of the permanent loss of those around us – although it certainly starts that way.
Rather, Rain provokes us into considering how a personal loss can shape us; isolating us as we respond to the loneliness it imbues by rejecting the contact and affection of others; how the pain of loss causes a retreat that – whilst we may not be conscious of it as the time – results in an experience of further loss.
Terrygold: Rain – January 2022At the same time, also wrapped within this is an exploration of time and how it, too, influences and changes us; the fact that of everything in life, time is our one constant companion. It marks the steps of our lives, the changes we experience. From the loss of those we love, through our other growth from childhood through to adulthood, it marks our desire to escape, whilst also offering what can be a warm / cold memory of those childhood years.
This is a poignant, personal journey, exquisitely frame in terms of setting, props and Terrygold’s images, marvellous self portraits that express the emotions and feelings captured within the words and setting. These are pieces of extraordinary minimalism, extraordinary creativity and framing, and extraordinary depth.
Terrygold: Rain – January 2022
I love to take pictures by creating my own photographic set and using exclusively tools that Second Life provides without any kind of external editing.
– Terrygold describing her art
But to think the monochrome nature at forms the main aspect of Rain is a walk through loneliness or depression would be a mistake. There is a narrative here that brings together the ideas of loss, time and growth, that brings us towards acceptance and peace / understanding; self-recognition that – if I might barrow from T.S. Eliot – times past and times present combine to paint our path into the future.
This latter aspect is beautifully illustrated in the final area within Rain, where the wild grass of the floor bursts forth in colours that are also reflected in the final set of Terrygold’s pictures. They bring with us the suggestion of warmth and comfort, a realisation that while we may still feel the coldness of loss and the rain of tears, there is still much in live that can bring warmth and colour.
Terrygold: Rain – January 2022
Perfectly designed and executed, Rain is another fascinating walk through the art and mind of a talented artist and photographer.