Category: Second Life

SL explorers are probably only all too familiar with region designs that hint at, or directly portray dystopian and / or post-apocalyptic settings; at times it can feel impossible to not throw a virtual pebble without hitting one. However, once in a while there comes a region that, whilst it presents such an environment – and can be appreciated and enjoyed for doing so – can also carry a deeper message.

Just such a region is TokSik Jello, to which I was drawn courtesy of a prompt by Shawn Shakespeare. On the surface, this is a highly photogenic setting suggestive of some near future in which Something has happened to bring about widespread destruction and breakdown. At the landing point, buildings point broken fingers accusingly at the sky and an elevated road hints that it once offered a through route to Somewhere, but now ends abruptly at the edge of a landscape the sea has partially claimed, flooding what might have once been a coastal setting built around a small natural harbour, turning what is left into a series of roughened rocky islands split by channels and upon which the remnants of a civilisation cling, perhaps almost tribally.

When this might be is anyone’s guess, as it what might have happened. There are certain cultural references to the modern age to be found, such as the cooling towers of a ruined power station that rise Fukashima-like on the horizon, Others such as the bulk of a great metallic airship moored above what remains of an elevated tramway, point the way to this perhaps being a place a little in the future.

Between these two landmarks and the landing point, two of the remaining islands have been converted into encampments: one within the remnants of a circus the other – looking somewhat fortified – utilising old building and cargo containers. Both camps are the homes of two gangs of children, the Misfits and (I believe) the Harlequins. Through them is revealed a further layer of meaning for the setting; that of a place where those who enjoy coming together and reliving (or perhaps living for the first time, depending on their personal situation) a time of childhood and its inherent freedoms through the use of child avatars and adventure role-play.

This focus is pointed to in the first instance within the Sonnet of Jello, framed a short walk from the landing point. An ode to the freedoms childhood should embrace, the sonnet sets out the intent behind the creation of TokSik Jello. It is a poem that also reveals the core purpose of the reason for the region as expressed in the Tale of Beanz.

Child avatars and those who use them are perhaps one of the most marginalised groups within Second Life. Contrary to the view of some, they are not “against the TOS”, nor are they automatically indicative of either sexual age play (which is very much against the SL terms of service, but not something we’re discussing here) or an indicator that the person behind the avatar is under age. That so many are so quick to jump to such negative interpretation of child avatars in SL is both unfortunate and, perhaps, more of a commentary on their own lack of understanding (on multiple levels) and inability to think compassionately about others than anything else; particularly where said attitudes are accompanied by outright hostility.

Simply put, child avatars can be used for a number of valid reasons, and such use is no different to any other means of avatarian self-expression that sit within the Second Life Terms of Service. They can be used simply for fun, or for very real and personally therapeutic reasons. As such, simply dismissing them out-of-hand (and in some cases by direct trolling any any opportunity – something also referenced in verse and physically within the setting) is simply unfair – and unnecessary.

Thus, the Tale of Beanz is something of a commentary on this; a statement on how easily actions can lead to people feeling ostracised, disliked and isolated to the point they fell little more than a ghost, slowly fading from SL. It’s a story revealed through the presence of “Beanz”,  a lonely, emaciated figure found at different points within the region and who will, when touched, reveal more of the story through wonderfully constructed verse; verse that also speaks to the self-destructive nature that can also be found within social structures in Second Life and beyond, marking the setting as statement of social politics in the digital domain that should give us pause for thought.

However, to frame the region entirely as some form of r”angry” reaction to all of this would be a mistake. Yes, it highlights a degree of negative perceptions and actions – but in doing to, it offers an entirely positive response. In recognising and understanding the prejudices and petty politics that can and do exist in the digital world as much as the physical, the team behind TokSik Jello have established the region as a of haven of openness, a place where child avatar role-players can escape the toxicity they might otherwise face, and simply enjoy themselves, as is noted in the region’s concept notes:

Regardless of how negatively people think of us, true Role-play SL kids are important to Second Life as a creative and diverse group. Eager to be part and valued as any other person. Therefore It seems crazy that one of the most discriminated SL demography, turns into its own discriminators with internal wars, arguments and hatred for each other. Especially when we have others destroying our community from the inside… for various nefarious reasons ….

Our goal is to install a community structure built on core values such as mutuality, compassion, honesty, respect and trust.  A place for true role-play kids to be as they are and have a place, to share positive community values in a safe, supportive and holistic environment.

– The TokSik Jello Team

As such, the region is currently open to the public through until (I believe) May, after which is will be gated and restricted to access for members of the role-play group associated with the region – details will be made available through the associated Facebook group, or by containing group members Jordy Zippy Banana (Zippy Banana), Niklas Howlett, Kenzie (Hiro Dismantled).

Slurl Details

• TokSik Jello (rated General) – limited time access

I’ve been a fan of the region designs by Hera (zee9) ever since I visited 2019XS before it morphed into what has been perhaps her most poplar series of region builds, the Drune series. I’ve not written about every single iteration, but they have been something of a theme in this blog down the years for their marvellous cyberpunk vibes edged with a touch of bohemian dystopia.

However, with Drune Diesel, I  think Hera has created one of the most engaging, intriguing and layered region designs it has been my pleasure to visit – and one I really do urge folk to hop over and witness for themselves, particularly if, like me, you are a film and cultural buff. Rather than keeping to the broadly cyberpunk theme of previous design, with this iteration, Hera has turned towards the oft-overlooked dieselpunk genre.

I was sent the LM for the region by my ever-vigilant region sleuth, Shawn Shakespeare, and it arrived somewhat serendipitously. Earlier in March I had visited Isabel Hermano’s art exhibition at the Janus II Gallery entitled Living in a Steampunk World (see here for more). Whilst steampunk oriented, two pieces within it – Radio City Music Hall, and The Sisters – incorporated very distinct deco and dieselpunk vibes and seeing these pictures set me to wondering if anyone in SL had actually stepped away from the more common steampunk and cyberpunk themes to present something more rooted in dieselpunk – and then just a few days later, Shawn drops Hera’s LM on me!

For other unfamiliar with the genre, dieselpunk (and it’s sub-genre of decopunk) is based on the aesthetics popular in the interwar period of the 1920s/30s and extending through to the end of World War II, with some exponents also including the early 1950s.  It is broadly defined as the era in which the diesel engine replaced the steam engine as the focus of technology. Within it, decopunk centres the aesthetic of art deco and streamline moderne art styles particularly prevalent to design and architecture in the same overall period.

Within Drune’s familiar city setting, compete with its tall buildings, canyon-like streets and split-level roadways, Hera has created a setting that encapsulates the heart of dieselpunk/decopunk to present something that will be instantly recognisable to those who have visited Drune’s earlier iterations – but which is also utterly unique. It’s a place where the richness of detail, large and small, is truly staggering and the cultural and film references sublime in their placement and presentation.

The initial sense of familiarity comes not only from the lie of the city and its streets, but also in the display of lighting and signage that adorns the sides of building and lines the railings of overpasses. But whereas past iterations this lighting and signage has been a mix of bright neons, flickering LED screens and brash  images, now we have a richer mix: spotlights illuminating billboards, softer-toned neons, traditional banners, and fluorescent lighting that follows the lines and curves of building façades or sits within parking metres and so on.

Another change is with the cars on the roads. While many of these (again in keeping with past iterations of Drune) may well hover, they are not the seek Blade Runner-esque designs visitors may recall. Instead, they are entirely of the era, encompassing bulky Cadillac-like beasts to smaller open-topped Mercedes and pencil-like single seaters.  They are held aloft over tracks that line each side of the road by great round conduction coils that replace their wheels and which are presumably powered by the diesel engines sitting under their hoods. They share the roads with cars that retain their wheels, perhaps because their owners cannot afford the hover update or perhaps simply because they want to be fashionably different.

A number of the buildings include interiors that have been made over to match the theme.  The Black Pussy nightclub goes full-on deco in its interior styling that could have you out on the dance floor like the most carefree flapper, whilst the Cortez Hotel’s lobby has  more grandiose deco setting, complete with stained glass windows and vaulted ceiling (as a set of four themed bedrooms). Those seeking a meal can always drop into the Shanghai Dragon, a restaurant that is truly delightful in its own suggestions oriental decadence.

The cultural and film references I mentioned are to be found everywhere. Some are mentioned in the note card offered at the airship landing point, others are awaiting discovery as you explore. Some are large and obvious, some either small and/or not quite so direct. Many reference the era represented by the the setting, others draw on references that may not at first appear to be connected, but on examination are not so anachronistic as they might first appear.

Take the P51D fighter sitting on the airstrip below the city, for example. Loaded for a ground attack role and bearing D-Day markings, it hardly looks dieselpunk in nature. However, it immediately brings to mind Kerry Conran’s 2004 box-office-flop-turned-cult-classic, Sky Captain and the World of Tomorrow (Jude Law, Gwyneth Paltrow, and Angelina Jolie), one of the first attempts to encapsulate diselpunk in modern film after game designer Lewis Pollak coined the term in 2001.

Similarly, the city’s movie theatre boasts showings Blood and Sand, starring Rudolph Valentino and released at the start of the dieselpunk era, together with Fritz Lang’s Metropolis (1927), arguably the first film to depict dieselpunk long before the term was ever coined. Indeed, Drune Diesel reflects something of Metropolis: whilst the workers are all down on the lower levels of the city, living in basic conditions and with the muck and sweat and fumes of the city, the elite live up in the towers, where halls are lined with marble and grand statues hold aloft light fittings or strike heroic poses.

Other references are more subtle but are bound to bring a smile to the lips when recognised, from the SS Venture alongside the wharf and being prepared for the voyage that will see her bring home King Kong (1933), to the U-boat sitting in its pen and carrying something of an Indiana Jones vibe. One of my favourites is the billboard reference to Karel Čapek’s 1921 film Rossumovi Univerzální Roboti (Rossum’s Universal Robots). Not only does it fit the period, it is the film that first brought us the term “robot” (although those in the film were closer androids than robots); it has also been cleverly paired with an indirect reference to Douglas Adams’ The Hitchhiker’s Guide to the Galaxy through its tag-line – even if the Sirius Cybernetics Corp might want to have a few words about it!

As indicated in the introductory notes, the city also contains references to the BBC Television series Peaky Blinders, the fictionalised tale of one of England’s most notorious crime gangs that was based in the city of Birmingham. These range the The Garrison pub, inspired by the pub seen in the series and rumoured to have been used by the real Peaky Blinders, to the wharfside chalk advert featuring a racing horse and the words “Shelby, est. 1920”, a reference to both the family leading the fictional Peaky Blinders and to the illegal bookmaking both the fictional and real gangs ran. There’s even billboard advertising  Cadbury’s products providing further references to the Midlands origins of the gang.

Drune is also a setting that encompasses so much more as well. There is a very Gotham-esque vibe in places that goes far beyond the Batmobile awaiting discovery, whilst the streets and atmosphere lend themselves to thoughts of a dieselpunk Philip Marlowe trudging the glistening footpaths (It was raining in the City — a hard rain — almost hard enough to wash the slime from the streets. But it never does.), and more besides.

This is a place that deserves time to appreciate all of the detail that has gone into it, from the way the building rise from worn brickwork to fine, faced stone with carved motifs and proud banners to the crafted rotary engines that pump clean air into their refined interiors from their tops and cough it used and dirty, onto the streets below. Much of this detailing, all created by Hera, both adds depth to the setting and offers up more in the way of cultural references, particularly for central Europe in the inter-war period.

Magnificent, engaging and deserving to be witnessed, Drune Diesel is simply superb – when visiting, do make sure you are running with Advanced Lighting Model active (Shadows not required).

SLurl Details

• Drune Diesel (Blissful Summer, rated Adult)