Category: Exploring Second Life

Light in white satin, frosted trees on the hill
Cakes for the eating, ’til you’ve had your own fill.
Beauty in gentle mist with soft whimsy before
Fun for its own sake is here to adore.

OK, so that’s not precisely what Justin Hayward wrote at the tender age of 19 whilst penning Nights in White Satin (which coincidentally reached No. 19 in the UK charts when first release as a single in 1967), but given the title of the region design I’m featuring here and its nature, can you really blame me?

Lights in White Satin is the work of ChimKami and Leica Arado as a whimsical winter setting that is intended to be enjoyed for its light-heartedness and sense of joy. Folding within it charm, memories of childhood, holidays in the sunshine and on beaches lapped with surf and crisp winter’s nights when the snow crunches underfoot and the silver crescent of the Moon hangs amongst scattered jewels of stars.

This is a place where logic and detailed descriptions can, frankly, be thrown out the window – it is whimsy and delight should be experience first-hand. From Chocolate tumbling down the sides of tall peaks and turning some of the satiny snow brown, through trees growing like Magnum® ice cream, and paths formed by icing-tops biscuits and chocolate blocks broken from some giant’s bar, this homestead region offers vignettes and settings where time might be spent.

The latter are spread all around the region, far enough apart to offer a little privacy where seating is available. The seating comes in a wide variety of forms, from chairs cut from pieces of fruit to those of a more regular variety. Some are watched over by Disney-esque characters, others are home to unicorns or penguins, elephants or deer; but this alone is an insufficient description.

This is a place where lollipops and gum crops form the trees alongside ice creams and ice cream cones, wish fish and sea creatures swim underwater and under dome; where lanterns float and mushroom drip icing like stalactites, ladders climb trees and little worlds and puffs of little clouds hover in the sky, possibly ignoring all that passes below.

To put it another way and partially repeat myself, this is a place to put away grown-up thoughts and let your inner child free and simply enjoy the whimsy, the contradictions, the little wonders. Of course, if you want, you can hop around via the teleport near the Landing Point and thus find the horses waiting to be ridden or the little RHIB waiting for you to putter (or zip) around the island or the rowing bow moored for you to relax upon – but where’s the fun in that? Better to roam and find.

Also waiting to be found are a host of references similar to the touches of Disney mentioned above. From a certain ogre and his sidekick to Hergé’s heroes  or broomsticks hinting at games of Quidditch, all might be found here, together with opportunities for ice-skating, dancing  and those simple opportunities to relax and have fun.

As already noted, Lights in White Satin isn’t a place to be written about – it is a place to visited, explored and experienced – be sure to mouse-over things carefully or you might miss a few smile-raising things. So instead, rather than banging on about it here, I’ll just invite you to pay a visit. And, before closing, express my thanks to Sam Rougefeu for his blog post that led me to visit.

SLurl Details

• Lights in White Satin (Dreamworld Mermaid, rated Moderate)

In September 2024, I visited La Côte Sauvage (The Wild Coast), a natural location held and designed by Second Life artist-photographer Caly Applewhyte (Calypso Applewhyte). Taking its inspiration from the Breton Coast, France, it was at that time located within half of a Homestead region.

And while people might say a year is a long time in politics, just a matter of a couple of months or so can be an age in Second Life! Because that’s all it has taken for La Côte Sauvage to change location and expand, offering a setting both familiar and new to explore.

Whilst still occupying one half of a region, the region in question is now a Full region held by Caly, with La Côte Sauvage running north-to-south along its western half, the Landing Point sitting roughly between the northern and southern extremes. I’m not sure when the move was made, but at the time of my visit, it did appear as if one or two things were still in the process of being placed / awaiting placement, with the little puppy happy in his sleep from the previous iteration still resting, but at the time I dropped in, floating serenely above and behind one of the setting’s little cabins, together with floating hovering overhead not too far away. 

The cabin in question is one half of the Trompe Loeil Yara Treehouse, as carried forward from the previous build, with its remaining half (also sans supporting trees) has been transplanted to the southern end of the landscape. They are not alone in being carried over, as those who visited La Côte Sauvage in its “old” home will realise as they wander; there is much here that is familiar – and rightly so – within the expanded landscape. But this is not to say the setting is the same; there is also much that is new. 

Take, for example, the  the henge-like standing stones and the ruined chapel on the headland beyond them; both echo the presence of the ruins that occupied the former Côte Sauvage, complete with the henge stones speaking to an ancient past; but the manner in which henge and chapel ruins speak of age is very different to the ruins which had resided in the former build. Similarly, while the Romanesque pavilion and its refreshments appears here, it now sits within a more shelter location, complete with a new view over the land as it sits at the edge of the setting’s rich woodland.

These woods occupy most of the eastern side of the land, set back and above stream and sandy coast as if ready to rebuff any harsh winds that might otherwise seek to make their way inland; and the winds and the sea here can indeed be hard and cruel, as evidence by the wreck of a ship driven on to rocks to the north. However, shelter from the harshness of the sea is offered by a headland, an island and a causeway of rock, all of which conspire to guard an inlet cutting into the land before the Landing Point. It is here that a stream bursts froth from rocks below the treeline  and bubbles and rushes the short distance to the waters of the inlet, passing under one of several bridges aiding walkers in their explorations as it does so.

It is within the trees that a meandering path might be found, offering another route of exploration running roughly north-to-south. It can be reached from several points, although probably the easiest is to take the steps winding up between the rocks at the north end of the setting, close to the cabin there, or by climbing the stone steps to the Romanesque pavilion and then making your way through the trees until you reach it.

This path actually straddles the parcel boundary between the two halves of the region, the woodlands doing to as well. This given the impression that the two halves of the region might be somewhat contiguous – although the different EEP settings used in each also belies this. I frankly have no idea if the two halves, even if thematically different, are supposed to run together and be open to all who visit; at the time of my visit, the east side was very much under development, so I kept my nose out as far as possible so as not to interfere.

Several places to sit can be found along the woodland trail, together with a mystical altar. Quite what rituals the latter might be for, I have no idea, but its presence added a shade of misty to the woods.

In terms of mystery, the altar might be matched by the mysterious building on the island protecting the inlet mentioned earlier. Built into the island’s peak and at first resembling an old bunker, it is in fact the entrance to Caly’s gallery space: take the teleporter inside to reach it. Built around a central lobby, the gallery offers four halls in which past exhibitions presented by Caly across Second Life continue to be celebrated. Just click the tree stump to return to ground level, either at the bunker or the landing point.

As with its former location and design, La Côte Sauvage remains a very visual and engaging place to explore and visit, so if you missed it the first time around, now’s your opportunity to catch up! 

SLurl Details

• La Côte Sauvage (Arvor, rated Moderate)

It’s been three years since I visited Omerta, a Full region design by Lux Voxel leveraging the additional Land Capacity bonus. Back at that time, the location was called Omerta City (see: A silent city in Second Life), and presented an urban environment of considerable and well-placed detail. Since then, the region has been recreated by Lux as Omerta Island, centred on the Empire Hotel, a place I first dropped into in mid-2023, but didn’t actually get to blog about at the time. As such, correcting that oversight has been long overdue.

Offered as a hotel / vacation / entertainment destination within second life, supported by a detailed website and which has been given added depth through the use of AI NPCs, Empire Island offers the opportunity to mix relaxation and the potential for a little light role-play; and – for those opting to be a guest at the hotel – perhaps discover one or two little secrets.

Discover the unique charm of Empire Omerta by exploring our picturesque island and inviting hotel. Rent our hotel for your special events and join the Empire Omerta group for exclusive member-only benefits. Use our booking form to schedule your memorable stay with us. 

– The Empire Omerta website

From the outset, this is a location to be experienced rather than simply visited; the majority of facilities are open to the public, but there is also Group membership, which brings with it a range of additional benefits. These include: access to secluded member-only locations across the hotel and island, use of hidden entrances, additional curated experiences, participation in contests and raffles, exclusive narrations, and advance notifications of events and activities throughout Empire Omerta (which are also recorded on the calendar located on the region’s website).

To achieve all of this, excellent use of space is made within the region; the ground level is home to the hotel and the majority of its public facilities, with the more exclusive / restricted elements located in the sky. The hotel sits on a small island almost surrounded by tall mountains and wooded shorelines, a single passage offering a glimpse of open seas beyond, suggesting the hotel sits within a deep water bay cutting into the coast of somewhere.

Visits commence on a pier extending out from the east side of the island, giving the impression that one has just disembarked the hotel’s de Havilland Canada DHC-3 Otter moored at the pier with engine running, have just flown in. A short walk along and up the pier and boardwalk, passing through a small “arrivals” area and then a more impressive “gatehouse” to reach the hotel’s main entrance.

Passing through these will expose visitors to their first opportunities to become members at the Hotel – as noted, this is not required for casual visits (or for renting one of the hotel’s luxury suites), but it’s worth touching them just the hear the svelte tones of the greeter once more, if you missed it on arrival! And, obviously you can join at any time during a visit, should you wish.

The lobby of the hotel will bring you into contact with one of many AI NPCs to be found throughout – Vinny, the hotel receptionist, who will greet arrivals as they enter and can be engaged in light conversation and answer questions. The foyer provides access to the the hotel’s gift shop and library and, after passing through the hall providing information on the hotel’s services and details on the individually designed feature suites, visitors can find Vitali’s restaurant – also a destination in its own right, offering free seating of a “live” dinner service if a reservation is booked. The bar here is overseen by Jimmy, a fairly smooth-talking barman with a Sinatra-like sense of style and who’ll mix / pour you a drink / get you nibbles to feed on, when you select something from the menu.

It’s at the back of the hotel that visitors can find the elevators serving the hotel suites and sky-located facilities. The suits can be accessed free-of-charge for a 3-minute period to preview – although it is worth reading the descriptions for them found in the hall linking hotel lobby with the elevator / back of the hotel to get an understanding of their theme and features (those already rented are indicated here as well).

Staying in a suite provides access to all of its facilities, together with 150 LI with which to rez your own items, if required, with the daily rates again displayed in the hotel’s hallway. Room rental provides privacy and access to facilities and options exclusive to guests (hint: there are some hidden (adult) specialities waiting to be discovered  – particularly in the case of the Cardinalis, you’ll just need to be a bit of a bookworm (so to speak) to discover the secret.

The elevators also provide access to the hotel’s Dance Club (open to all) and facilities such as the spa (with sushi bar!), gym, cinema and casino which are restricted for members only use. Details on the various experiences to be found within the setting can be found on the website, which includes a glimpse of upcoming experiences as well.

My passion is creating unique experiences around the hotel for both individuals and couples to enjoy. I’ve been dedicated to custom work for years and I’m excited in curating experiences like Vitali’s, where I blend custom audio, scripting, graphics, and more to craft something truly special. 

– Lux Voxel, creator of Omerta Empire

Outside of the hotel proper is still more to be found and enjoyed by members, guests and non-members alike. These include a ribbon beach running around the south-east arc of the island’s coastline, sun decks and gazebos, a wedding chapel, reserved outdoor dining, a little art gallery / walk set between two glazed gazebos, and more. One of the more unusual is the outdoor venue, where a stage has been set-up in the space once occupied by a car wrecking yard, the sad remains of former cars and trucks now repurposed as a wall to help keep the wind out while the neighbouring water tower has also bee repurposed as a neat little romantic look-out point. The wrecking yard stage area is balanced on the south side of the island by another outdoor stage area located alongside the chapel.

Piers close the the one serving the hotel’s air taxi offer jet skis for use be group members, free diving into the water, fishing (catch and release!), all of which can be found at the Old Port, whilst the Tattoo Parlour to the rear of the hotel, and with is own street-side access,  includes an elevator that will deliver visitors to Lux’s Meshmafia in-world store. Also accessed separately from the hotel is the local photo studio, which includes rates for photoshoots ranging from a profile headshot through a couple’s scenic photoshoot to full wedding / event photoshoot.

Richly detailed, with friendly service – my sincere thanks to Lux for he welcome and support throughout my visit and his patience in answering my questions – Empire Omerta is a genuinely engaging Second Life location with a lot to see and enjoy, including a very active events calendar. Should you enjoy your time visiting and fancy indulging yourself over the upcoming Christmas holiday period, be sure to enquire about Empire Omerta’s Christmas Gala, featuring 3 hours of live entertainment!

Slurl Details

• Omerta Island (Omerta, rated Moderate)

With November upon us, it was time for me to make a return to Jim Garand’s Grauland; after Primary Colours, I was keen to see what new delectations his fertile imagination had cooked up for us, and was delighted to find that once again, he’s turn his attention to a sci-fi like setting.

My first question on arriving at Grauland / The Deity Machine, was whether I was somewhere on this planet or standing on another world. Certainly the rock beneath my feet and the scrub grass ground upon it looked Earth-like, as did the sea; but overhead the sky offered an otherworldly feel, as did the structure beyond the rock berm undulating across the land before me like some gigantic snake, standing stones raised along its back in imitation of  broadly-spaces spines.

This berm would have been easy enough to climb, but I turned south instead, walking over the scrub grass to where a cube-like  arch linked an arrow-straight walkway to the gentle slope of a stone-flagged causeway as it slips down into the waters, as if waiting for some form of aquatic vehicle to roll up out of the tide and park itself upon it.

The steel plating of the walkway points directly towards the main, but by no means only, structure within the isle: a gigantic pyramid-like structure raised up on the back of  an elevated terrace itself sitting upon a great square of precisely laid and cut stone flagstones. With broad stairways climbing up to huge openings cut within its cardinal sides, the pyramid is home  to an alien-looking device standing on its own plinth above darkened water.

It is fair to say that water plays an much a part in the design here as rock, metal and other materials. Channels of it parallel the walkway toward the pyramid, with more channels and pools sit on two sides of the the pyramid’s outer court of stone, whilst other strange artefacts sit over ponds of dark water of their own, as if drawing power from them.

One of these artefacts is to found among a set of accommodation units built below the mean ground level and reached via a stairway descending from the walkway. Containing human-style furnishings, these four identical units nevertheless carry that sense of the alien within them.  At that far end stand four pillars, information scrolling up and down each of their faces as if they might be digital Rosetta Stones, keys to unlocking a mystery .Perhaps they are – or perhaps not; there is information to be read upon them – but I will leave it to you to try to discern what might be meant and keep my thoughts to myself.

Beyond the pool in which these pillars stand, the path leads on between rock walls, passing the foot of a tall monolith of dark materials and gleaming teal light standing close to the shore, to come to what is the second largest surface structure in terms of area. Once again featuring water as a part of its central feature, it sits as the home of an artefact perhaps intended to focus the light of whatever sun illuminates this world and transfer it to where vibrant orbs of light appear to be rising into the sky.

Nor is this all; a further large structure sits alone on a small isle of rock to the north-east, both reached and surrounded by an elevated walkway, whilst sitting on the other side of the steel walkway crossing to the pyramid’s base sits a large hall with its own courtyard area. Within it, tables and seating with counters and a bar suggest it is a refectory for use by humans. But it is along the softly illuminated corridor leads away from one corner of this hall that visitors might find the setting’s most curious – and Roswell- like – secret, hidden alongside a military-style bunker with a washroom and dormitory.

No hints are offered as to what Grauland / The Deity Machine might be about; backstory and interpretation are left entirely to the imagination. The intriguing mix of age-worn stone steps and uneven paved footpaths and clean flagstones and futuristic / alien-like architecture suggest a place of both great age and yet technological use. Perhaps, as the name suggests, it is a location that has been revered down the aeons as a place imbued with the memories of gods or spirits, but which is now the home of digital memories of times and events.

Whether it is upon Earth or a world elsewhere in our galaxy is again a matter of personal choice; no clue lies within it as to which might be the case, although the presence of a very Earthly rowing boat might suggest the former over the latter; if humanity is capable of reaching other worlds, than most likely it has easier means of crossing bodies of water. But again, that’s for you to decide, if stories and narrative are your thing.

And if they are not – will, Jim has once again created a place ideal for photography, whether you opt to use the region’s supplied environment settings (as I have here) or opt for one of your own. So – enjoy!

SLurl Details

• Grauland (Liberia Isle, rated Adult)

In June 2024, I visited Blade Runner, Brutal City 2060, another of the outstanding region builds by Hera (Zee9), and somewhat based on her Blade Runner-esque region designs. In that particular instance, which I covered in Hera’s Blade Runner Brutal City in Second Life,), I noted that the setting encompassed:

The familiar, whilst offering some tidy little twists and turns for lovers of science fiction (and potentially obscure TV series of that genre), as well as other references, it is again a highly visual environment which spreads the Blade Runner elements more broadly, folding into it elements of Blade Runner 2049, whilst also drawing on 2012’s Dredd.

Well, as of early November 2024, Brutal City is back for a time, offering a further take on the original themes of Hera’s Blade Runner builds and Brutal City, complete with further dips of the toes into various other sci-fi series – and something more besides, as Here notes in her introductory notecard:

I was re-building Brutal City trying to add more OTT sex stuff etc 🙂 and Kacey said, I have been trying out some things and I think I can link up an AI model to SL. Day later it was there :). She has done a fantastic job. We have had a load of fun sorting it out, me on the dumb user side and her at the sharp tech end, learning a lot about AI as we went.

I guess the big deal is this. Online games have NPC’s that are programmed to say what the game company wants them to, multiple choice questions with hard wired answers. These Bots in Brutal City are doing their own thing, Try them, they get stuff wrong like we do, but ALL you hear is them RP-ing their characters.

This is not the first time that AI has been hooked up to NPCs within Second Life; various people have been working on similar for a while – but I admit to finding the work that Hera and Kacey Stratton (KaceyStratton) particularly attractive, as the environment in which they’ve employed the AI encompasses sci-fi references that have a personal appeal – notably in this case, Blade Runner films (obviously) and the Altered Carbon TV series.

As an update to the original Brutal City, which in turn carried forward elements from previous Blade Runner-esque designs by Hera, there is much within the setting that will be familiar to those who visited the June 2024 iteration of the build. Also as is typical for Hera’s builds, the Landing Point is separate from the setting, and offers an onward teleport together with the opportunity to obtain the above-mentioned notecard. The teleport here will again deliver arrivals to a subway station, which in turn offers a choice of routes up to street level.

Here again, the layout follows a design familiar to anyone who has spent time in Hera’s city build; one that is both forced upon her by the limitations of region space and size, and one which instantly give the sense of coming back to a neighbourhood that is both familiar and new. Many of the hints towards various film franchises and TV series are to be found still – the BCPD / LAPD police HQ with its echoes of total Recall 2070, the spinner-like police cars and decommissioned spinners as road cars; the sea of neon advertising – even the noodle bar reminiscent of Deckard’s initial encounter with Gaff – although it’s now under the ownership of Tony.

Which is not to say this is a simple re-run of Blade Runner: Brutal City; there is much that has changed that awaits discovery. Gone, for the example are the overt references to Judge Dredd, whilst in come more noticeable references to Altered Carbon. Whilst the re-sleeved Takeshi Kovacs (in the form of actor Joel Kinnaman) remains displayed on a screen within the BCPD building, a broader reference to the show can be found in the presence of The Raven Hotel and its proprietor, one Poe, an AI modelled after Edgar Alan Poe.

The Raven replaces one of the three gang-related clubs of the previous Brutal City build, and Poe became the first AI NPC within the setting with whom I interacted – and I was instantly impressed. Care has been taken to imbue the AIs with parameters which match their nature / character. With Poe, for example, I was able to converse on his nature compared to that of the Poe AI from Altered Carbon and on Takeshi Kovacs himself (also, whilst visiting the hotel, check-out the Poe Suite). Similarly, at the noodle bar, Tony was aware of Deckard’s preferred dish and was able to offer it to me a we discussed the day and “played” a round of cards.

Yes, as the introductory notecard states, the AI can occasionally glitch (Tony got rather hung-up on offering to prepare a specific dish for me, for example, despite the fact I had “Deckard’s favourite” in front of me!), but the level of natural exchange in conversations meant that when it comes to free-form role-play, there’s much in the way of potential to be found throughout the setting. In this, the notecard available from the Landing Point is invaluable in helping to understand the framework set for the various types of AI NPC you’re likely to encounter, and the setting as whole and what might go on.

Elsewhere in the setting, the other clubs have been altered to offer new venues (although the Snake Pit remains tucked inside the Dream Palace), whilst the Tyrell Corporation building (which became the Wallace Building in Blade Runner 2949) is now owned by the Warlock Corporation, which also happens to run this sector – Sector Six, the most dangerous sector of Brutal City. The corporation’s CEO, Max Wallace can be found inside, and it would appear that – going by the portrait dominating one wall of his office, he’s quite enamoured of Tyrell’s legacy.

Visitors might also find a fairly strong Aliens franchise reference whilst wandering; something hardly out of place, given Ridley Scott saw both Alien and Blade Runner as existing in the same universe. Within it might be found a further AI in the form of Mr. Giger, who will confirm he is something of a personification of Hans Ruedi Giger, albeit one (perhaps fittingly) offered as a hologram-like form, rather than a three-dimensional figure.

There is much more to be said for Brutal City AI; through might be found Hera’s attention to detail – itself deserving of careful observation of the small as well as the large, and which can be found in unexpected places. There are other nods towards the likes of Altered Carbon awaiting discovery, but rather than ramble on, I will stop here. Instead, I’ll simply suggest you pay a visit for yourself – and as a final point, do remember that Hera’s builds are as dreams: vividly alive and present for perhaps only a short time before vanishing into memory; so if you do intend to visit, then “soon rather than later” should perhaps be your watchwords.

SLurl Details

• Brutal City AI (Themyscira, rated Adult)