Category: Second Life

Tolla Crisp’s Frogmore expanded recently with the arrival of Goblins Knob, a Homestead region by Tolia and her frequent region design partner, Dandy Warhlol (terry Fotherington). I always enjoy trips to Tolia’s regions as the settings they present are so often inspired by physical world locations whilst taking their ideas in directions totally set aside from any real world location rather than merely reflecting it. In this, Goblin’s Knob immediately captured my interest just from the description Tolla has bestowed upon it:

Goblins Knob is inspired by 1666 Pudding Lane, London, before the great fire, with the added magic of Diagon Alley. Early dawn of quiet hush, fog descends with a gentle brush. Veiling the world in a silent shroud, nature’s whisper not too loud. The Spiderwick comes at the break of dawn, Bogarts and Goblins, and dark Pixie Yarns.

Goblin Knob’s Destination Guide description

Now, I’ll be honest, the Diagon Alley reference went right over my head – although Wilhelmina, my companion for the visit, immediately caught it. In my defence I will say that my ignorance is borne of the fact that I am probably one of the few people in the world never to have had the desire to read the Harry Potter books (despite loving fantasy in general) or watch the films. That said, the reference to  DiTerlizzi’s and Black’s series of books (and subsequent TV series and film) was all too clear; and that and the idea of mixing 17th century London with elements of steampunk very much whetted my appetite for the unusual and the eye-catching.

This is a place which should be visited using the looks environment settings (World Environment → Used Shared → Environment). It is also a region where PBR materials are much in evidence, including on the terrain (one of Alex Bader’s PBR materials sets looks to have been used – I’ve been using within my home island as well). I have no idea if texture and Blinn-Phong fallbacks are provided where the PBR has been used, but if you drop in on a non-PBR viewer and find expanses of grey or white or similar, this will likely be the reason why.  You’ll also want local sounds on whilst visiting as well.

Visits begin on the east side of the region, on a small wooden pier sitting just above the surface of the water. The fog is heavy and the night dark, but two great fingers of rock loom out of the water whilst the shadowy form of a tall building rises tower-like a short distance from the pier. The latter is illuminated by the tall form of a floodlamp tower topped by the gapping mouths of klaxon horns. This marks the first coming together of the strange mix of influences. With thick heavy cables clearly visible, the floodlamps would appear to be electrically powered, setting them a little at odds with the idea of 1600s London; another little twist comes in the form of two strange flying vehicles “moored” (inasmuch as they are serenely hovering above it) at the pier – although they do have the steampunkian element.

Further mystery is added by the long shafts of spears protruding from the water as if thrown in an attempt to ward off a sea creature of some kind. To one side of the pier, the high wall backing it gives way to a west-point channel cutting into the region, on the other, step rise up from the water’s edge to provide access to the cobbled street above ad it runs along the edge of the deep walled canal, a peculiar mix of lit buildings somewhat crammed together whilst separated by archways and cobbles alleyways.

Three primary bridges span the canal, with a slightly rickety looking boardwalk forming a fourth crossing, this above the short tunnel leading out to the waters by the landing point pier, providing access to a heap of buildings cut off from the rest of those to be found on the canal’s north side by another deep-walled channel. Steps on the far side of this boardwalk rise up to the flat rooftop where a cannon ominously points its snout up the line of the canal, rather than out to sea, as if awaiting something nasty to come down through the waters.  from further inside the town.

It is on the north side of the canal and along the cobbled street there that many of the more wizardly (or perhaps magical might be a better term) elements for the region might be found, both within shops (or a shop) and at the roadside vendors. Further to the west and across another bridge, this one spanning a channel feeding water into the main canal from a rocky waterfall, lay more hints (others being in the form of posters in doors and walls of buildings already passed, for those keen of eye) that the circus is in town. Indeed, a trip down a short alley arched with roses will bring you to where a path winds through the local woods to the rather forlorn circus itself.

Meanwhile, in the waters of the main canal just below where the circus wagons sit on the town’s street, a possible reason for the inward looking cannon might be found as it menaces a ship trying to make passage through the narrow waters. At its western end, the canal opens out into the sea once, high stone walls continuing to keep the streets high above the murky waters.  But where, on the south side, the wall marks the limit’s of the town’s extent save for piping of unknown use, to the north the town continues along what might have once have been a substantial wharf, but which is now the foundations for a ramshackle building looking almost like the grandfather of all motels and lit an eerie green.

Nor is the canal merely a source of navigation for watercraft; overhead, a procession of balloons and dirigibles appear to be following to whole-knows where. Among these, but not a part of their number, given it is firmly anchored to the ground, is a balloon from which a zipline ride might be taken at a very sedate pace.

Most – but not all – of the building here are façades, and I admit, outside of the higgley-piggledy cramming of the buildings, I’m unclear as to the reference to the London of 1666 and the Great Fire. However, none of this detracts from a setting that is very heavy in atmosphere and rich in detail, particularly when it comes to the steampunk elements. Even the otherwise incongruous elements such as flood lamps and 20th century English telephone boxes just work, and I particularly liked the tavern’s wall of framed pictures and the little jokes nested within the images.

Very different from other Frogmore venues, but engaging and photogenic, Goblins Knob is a fascinating curio of a region.

SLurl Details

• Goblin’s Knob (Dulcis, rated General)

Since 2021, Jayden Mercury has been creating  / writing stories involving settings he designs, sometimes on his own, sometimes with the assistance of others, and notecards which might be seen as chapter outlines or prompts, all under his Neverending banner.

While I have missed numerous segments, I did cover the start of the story when Jayden opened Adventures In Mad Wonderland in 2021 (see here for more). I then returned to it for Neverending – Sakura Tales (more here) and again for The Dark Tower (more here), after which I kind-of lost touch with things. I was therefore pleased to be recently able to visit the 13th chapter in the series NeverendingSL: Souru Sosaeti.

Jayden’s settings often have a suggestion of pulling on the threads of literature and storytelling from times past in order to create a tale of its own. With Adventures In Mad Wonderland, for example, there was the obvious element of Dodgson’s stories as written under his pen name; with The Dark Tower there seemed to be multiple potential intertwining references: Stephen King, Robert Browning, Tolkien, and so on.

Here, the name of the setting appears to be taken from the Japanese term for Soul Society (aka “dead spirit world” or “spirit world”, Souru Sosaeti), where souls are said to reside whilst awaiting reincarnation.

Whether the reference is meant literally or simply as a means of unfolding this chapter of Jayden’s story (or even as an oblique reference to the Japanime series BLEACH), I’ve no idea. Certainly, the introductory notecard gives the impression that there is a common thread linking this Soul Society with its namesake:

Souru Sosaeti, once bustling and lively, now lay shrouded in fog and surrounded by an eerie silence. The artist arrived in the harbour aboard his small boat, guided by his constant companion, the majestic phoenix. The bird of rebirth was more than just a symbol; it seemed to have a connection to this mysterious city, whose fate threatened to disappear into the mist.

– Introductory notecard for NeverendingSL: Souru Sosaeti

Stranded, the artist has set-up home on the edge of the city, and among the tower of stacked trailer homes similar in nature (if on a smaller scale) to the one popularised by a certain E. Cline in his debut novel. And it is at his little retreat that the story opens, with an invite to sit and then explore the setting. As with previous iterations of the story, the setting is interactive, and visitors are encouraged to explore, take photos, discover – and to try to find the artist’s pen and paper in order to read on to see what happens next.

The story itself carries the sub-title The Artist and the Cards of Destiny. This appears to be a reference to a game within the setting which can be triggered by locating the local Experience and receiving the game HUD. The Experience trigger might take a little finding; all I’ll say is look for alley with the red lanterns and the gate at its far end. Locate it, and the Joker may have a challenge for you!

Suddenly, the Joker appeared, emerging from nowhere with a diabolical grin and a theatrical voice that echoed through the deserted streets. ‘Ah, finally a curious wanderer,’ chuckled the Joker as he faced the artist. ‘Are you here to unravel the secrets of this city? 

The artist stepped back, startled by the Joker’s sudden appearance. Gathering his composure, he met the Joker’s gaze. ‘Who are you? What do you know about the disappearances?’ he demanded …

The Joker smiled mysteriously and replied, ‘Ah, that is a question for those who seek the truth. The city has many faces, each with its own stories to tell. Perhaps you will find the answers you seek if you find the four king cards. Are you ready for the challenge?

I’ll say no more on the game here – you can discover it for yourself when you find the “Joker’s gate”, as it were. So why not pay a visit to NeverendingSL: Souru Sosaeti and see what you might find on the ground  (and elsewhere!), both on foot and by way of theJoker’s challenge?

Slurl Details

• NeverendingSL: Souru Sosaeti (Hidden Reef, rated Moderate)

In leafing through the Destination Guide recently, I happened across an entry for Petite Provence d’Annisss, a full private region setting leveraging the Land Capacity bonus, designed by Annisss Mathịṣ (annisss). Offering a mix of public spaces and rental properties (so some caution might be in order during wanderings to avoid invading someone’s privacy), it offers a good deal to see and appreciate and some pleasing opportunities for photography.

Visit a village in the south-east of France, have lunch at a restaurant with a sea view or enjoy its beaches and small isolated coves, visit its superb caves or come and enjoy the evenings at the Club.

– Petite Provence d’Annisss About Land description

A visit commences towards the west side of the region where a tall clock tower keeps watch over a channel cutting its way into the landscape. Perhaps this watery cutting and the bay at its eastern end may once have been a natural inlet, but where the banks may have once stood has been built up with walls and topped out with paving to provide space for local businesses, the town church, with the inlet becoming something of a small harbour, offering a safe haven to various craft which appear to enter via a separate channel.

Gathered behind the clock tower, the part of the town adjacent to the landing point carries hints of multiple locations – some of the buildings having a lean towards Tuscany; others seemingly plucked from rural France. It’s a mix that is pleasing to the eyes with cobblestones an paving run around and between the buildings, inviting feet to follow, while to the south a road sweeps down from the heights before performing a u-turn and ending as abruptly as it started have served its intent and brought visitors down to the golden sands of a beach whilst cupping one of the region’s restaurants in its arms as it does so.

The beach offers plenty of places and space to catch the sun, whilst a makeshift bar might allow sunbathers to quench their thirst when it is stocked and operating. For those who prefer, steps to one side of the clock tower offer a quicker way down from the landing point to the beach, and both the the steps and the road will direct wanderers to where a horse rezzer is also available should clip-clopping around the town appeal.

Across the channel, and linked to the clock tower by way of a bridge, the north side of town has fairly packed itself into a small island, the buildings shuffling together shoulder-to-shoulder is if in mutual protection. Between them might be found narrow streets and alleys that – as is so often the way with old towns – suddenly burst forth into a square or walk raised above a beach, offering places to sit and pace the time and / or steps down to the sands.

Follow the raised water front here down to where it overlooks the moorings for boats, and you cannot fail to find The Blue Note, the club mentioned in the About Land description. Sitting within the remnants and façades of a number of buildings and with its very roof the sky above, this a a place ready to host both DJs and live musicians alike, its dancefloor sitting above a tropical isle in miniature.

Reached by walking through the town and passing by the church and another restaurant, visitors can make their way to the region’s art gallery. Sitting with cliffs on three of its four sides, the gallery was hosting a exhibition of photography by Ludi Tarus at the time of my visit, with its courtyard area sporting various 3D pieces. Just to the south of the gallery are two blocky promontories, a narrow cove cutting between them. One of these promontories is home to a public baths, and those seeking it out might also notice there’s a path edging its way around the cliffs below it, offering access to the cove.

The second promontory is the location to one of the setting’s rental homes. Overlooking another cove-like beach sheltering between the rocky bluffs, this house looks across the sands to another headland marked by more rentals, and with another path running through it connecting the two baches along its shoreline. To be honest, I’ve not sure if this aspect of the island is intended to be open to the public; while it links directly to the the gallery and its courtyard, the only means to reach the footpath and the beached appears to be by taking a walk through the gardens of the rental houses. I wasn’t keen on doing this in case I was trapsing across private property, so I simply cammed  over and looked around.

Some of the cliffs dropping away to the harbour from the rentals and the gallery have waterfalls bursting out of them, suggesting the presence of a rocky aquifer. More to the point, for those who find it, there’s a stairway leading down to the base of some of these falls, where a bag of gifts awaits, together with the entrance to the cave mentioned in the About Land description.

Charming, quiet and with plenty of opportunities for photography, Petite Provence d’Annisss makes from a pleasing visit with plenty to seen and photograph.

SLurl Details

• Petite Provence d’Annisss (Petite Provence, rated Moderate)