Exploring Second Life – Page 32 – Inara Pey: Living in a Modemworld

Jade’s Red Lotus Lake in Second Life

Posted on June 26, 2024June 7, 2025 by Inara Pey

*Nong Han Kumphawapi, June 2024 – click any image for full size*

Far to the north of Thailand and located within the Udon Thani province lies the lake of Nong Han Kumphawapi. According to the folklore of the region (lore which encompasses both northern Thailand and neighbouring Laos), the lake plays a pivotal role in the tragic love tale of Phadaeng and Nang Ai, as do the flows which bloom within it (in their memory) and the wetlands within which it sits – wetlands that were designated as being of international importance in 2001, due to their biodiversity.

The lake is also, as of June 2024, the latest setting Jade Koltai has used as inspiration for an in-world region design. In doing so, Nong Han Kumphawapi joins Jade’s Painjin (2023) in depicting another of the physical world’s wetland areas within Second Life (see: A Red Beach in Second Life).

Covering an area of just under two square kilometres, with the surrounding wetlands covering a total of just over 4 square kilometres, the lake is also known as Talay Bua Daeng – Red Lotus Sea or Red Lotus Lake – due to the fact that while the water is more open that the surrounding wetlands, it is home a huge array of flowers which, which in bloom, turn the lake into a carpet of pink and red.

That the plants are tropical water lilies rather than lotus plants makes no difference – the sight of the flowers blooming across the water from around late November through until around late February give it both a mystical air and mark it as a tourist attraction. The lilies serve to hide a secret of the lake: whilst it may well cover an area of almost two square kilometres, it is for the most part little more than a metre in depth.

As noted, both the lake and the wetland are noted for their biodiversity, sustaining as it does a variety of fish, birds and plants. Water from the area also serves part of the Udon region to the south, providing them with water for agriculture, etc. However, it is within the tale (or rather, tales, as the story takes multiple forms) of Nang Ai and Phadaeng that the lake is best known to the peoples of northern Thailand and neighbouring Laos.

In essence the story goes that Nang Ai (and also known as Aikham), daughter of King Ek-Thita, became famed for her beauty, bringing forth suitors from far and wide; one of whom was Prince Phadaeng. Another was Prince Pangkhee (or Pangkhii to some), the son of the Grand Nâga, ruler of the deep. He was said to have been married to Nang Ai in at least one past incarnation and was determined to be so again. As neither Despite Nang Ai clearly being in love with Phadaeng, her father insists a contest is held for her hand – and neither Phadaeng nor Pangkhee succeed in winning it. Nang Ai’s uncle does, but he’s disbarred from wedding her, leaving everyone a tad miffed. However, both Pangkhee and Phadaeng determine they will each see the princess again.

Being the son of a shape-shifting deity, Pangkhee turns himself into an albino squirrel for his visit. In doing so, he successfully finds himself on the menu when Nang Ai sees him and decides stewed squirrel would go down rather well for lunch. Killed by Nang Ai’s hunter, with his dying breath, Pangkhee requests that his father avenge him and kill all who eat squirrel – and just to help sort out who this should be, turns himself into 8000 cart loads of ready-to-cook squirrel meat. This goes down very well (literally) for the townsfolk – and Nang Ai even serves the visiting Phadaeng squirrel soup.Enter the Grand Nâga and his angry horde to carry out the requested vengeance. As the killing rages, Phadaeng and Nang Ai attempt to flee on horseback, but the Grand Nâga floods the land, creating the lake and Nang Ai carelessly falls into it and drowns. Stricken with grief Phadaeng dies as well – only to bounce back as a ghost leading an army of ghosts, no also out for vengeance, this time on the Nâga’s horde, who are indeed defeated, but not before the land around the lake is flooded, forming the wetlands.

With her design, Jade particularly captures the flowering nature of the lake, although the setting perhaps suggesting it has been transposed to a more coastal location. The waters are shallow, the lilies in bloom, and here and there the land rises above the water. On one sits the remnants of an ancient temple, while more ruins and the remains of wood houses rise from the waters like romantic apparitions, watched over by cranes. A modern raised deck sits out over part of the water, clearly awaiting the arrival of tourists, whilst sampan-like boats float out among the lilies, just like the ones used to carry visitors over the shallow waters of the real Nong Han Kumphawapi.

Rich in bird song and setting under s sky in which a westering Sun is slowly setting, the region includes multiple places to sit and be serenaded by bird song and the gentle sounds of lapping water. Recommended.

SLurl Details

Nong Han Kumphawapi (Overland Hills, rated Moderate)

Journey to Endless: Antipodes in Second Life

Posted on June 23, 2024January 10, 2025 by Inara Pey

*Endless: Antipodes, June 2024 – click any image for full size*

I received an invitation to visit a further iteration of Endless: the Full private region featuring designs by Sombre Nyx and Jackson Cruyff – my thanks to Jackson for said invitation.

The last time I visited, Sombre had used a physical world location in New Zealand as an inspiration for her design (see: An Endless: Birdlings Flat in Second Life). This time around, she sticks with the idea of an antipodean location, but where it might be relative to you in the world is a matter of choice; the setting sits equally well in most northern / southern latitudes as thus could also be west or east as well, depending on your place in the world.

An island at the end of the world, where seething seas break against the rocks of the coast. Where craggy and low, rugged hills offer views to forever. Where rural life is quiet, but full, and nothing really matters but the moment.

– Endless: Antipodes About Land

As the About Land description indicates, this is a craggy, rugged location, one island among a small group. The flora on the island – mostly scrub and grasses, interrupted here and there by lonely trees – the one close-knit grouping of trees being mangroves sprouting up from the wetlands on the island’s eastern side. Such is the lie of the land and its blanket of flora, it gives no clue as to its possible latitude or longitude, although it is not unfair to say it is probably outside of tropical and most sub-tropical climes.

The arrival point lies toward the western side of the island, sitting on a shoulder of land separating two shallow bays with sandy beaches, one of which appears suitable for bathing, sheltered as it is from northern winds by a further high-shouldered promontory extending out into the sea. A footpath runs out along this headland, and also forms a track running eastward along the bluffs above the north coastline. As it does so, it crosses what appears to be the former course of a stream that once tumbled to the sea from higher ground, then descends towards the eastern coastal lowlands.

A wall has been build over the rocks of the coastline here, helping to ensure the sea and land remain separated and allowing the former to become a level setting for a homestead farm, complete with an orchard alongside it. The farmhouse has the look of having been long since been converted into more of a cosy retreat than a place of work (although the apples from the orchard are very clearly being cultivated / harvested); the integral barn is now a bedroom and outdoor decks provide additional living space – their presence suggesting the island perhaps does not suffer from too much in the way of really inclement weather.

This house is one of three on the island, the spines of hills separating it from its neighbours one of which lies on island’s far side, the other more directly to the south. A small, rough beach sits to one side of the farm, and the path continues from close bay, this time following the east coast as curves around a bay cutting deeply into the island, home to the wetland and mangroves mentioned above, and its mouth guarded by a small isle. Whether the studio is used by whoever occupies the little farmhouse or not is open to question, as the path continues on to the house on the south side of the bay, putting it within easy reach of the studio isle, whilst its design and décor perhaps suggest the aesthetic of an artist has been at work inside.

The remaining house is very much a place of work – a barn with tractor and feed for livestock, etc., lying just up the hill from it and a chicken coop betwixt the two. Whoever lives here likely owns the sheep found scattered across the island. As well as the sheep, the island is something of a home for birds, including herons and kingfishers as they carefully keep an eye on all the comings and goings across the land.

Such is the design of the setting, it is easy to arrive and just wander; however, there is also a ground-level teleport system (starting at the arrival point) to help guide people around the major points of interest for those who prefer. Rezzing is open for photography props, with auto-return set to 30 minutes – but do please clean up yourself if you use the option.

Jackson’s location – as with his past joint designs with Sombre – occupies a sky platform overhead. It takes the form of another rugged setting – perhaps part of one of the island seen off the coast of Sombre’s setting. A short walk from the landing point the land is cut through by a deep gorge, clearly formed by the erosion of the water pouring into it from one end, before making its way seaward but not quite entering open waters. Instead, a natural rocky breakwater block overland progress – but given the water simply hasn’t risen to overcome the barrier, one might assume there are submerged routes passing under the rock that allow it to escape.

This gorge gives the setting its name: Jack’s Canyon, and forms the focal-point for explorations. Invisible from ground level, it is a little like Rivendell, only opening to view when practically on top of it. Unlike Rivendell, the gorge has a man-made path in the form of a wooden board walk and ladder descending into it, the top of this walk forming a deck close to the one building in the setting: a small wooden cabin.

This route down into the gorge is overlooked by a further deck extending out from the west cliffs, whilst the seaward end is watched over by two tall rock formations, one of which also looks down on a small camp site sitting on a broad lip of rock and grass forming a step in the cliffs on the west side of the canyon (another little camp area occupies a further lip close to the bottom of the canyon as well). Wildlife in the form of bears, boars, wolves, foxes, cranes and eagles are to be found throughout the setting, all of which perhaps suggest this is a location more in the northern hemisphere – but wherever you choose to place it (if at all), there is no doubting its natural beauty. So much so, that even a time-traveller appears to have dropped in for a bit of a look around!

Like Antipodes, Jack’s Canyon includes a local teleport for hoping between the local arrival point and the canyon floor. However, this is not directly connected to Sombre’s Endless: Antipodes; both the ground level setting and the canyon are only linked via the common landing point in the region – hence why no SLurl earlier in this article – which must be pass through when moving between the two.

With both locations offering local sound scape and various opportunities to sit and relax and / or take photographs, they can be enjoyed individually or jointly – and my thanks again to Jackson for the invite!

SLurl Details

Endless: Antipodes / Jack’s Canyon (Heraiki Bay, rated Adult)

Journeying through Infinite Darkness in Second Life (updated)

Posted on June 16, 2024September 17, 2025 by Inara Pey

*Infinite Darkness, June 2024 – click any image for full size*

I recently received an invitation from Gian (GiaArt Clip) – together with some very gracious words, thank you, Gian! – to visit Infinite Darkness, their latest region design. Having previously visited and written about Gian’s Buddha Garden (see here and here) and Monkey Island (see here), I hopped over at the earliest opportunity to explore.

Anyone who visited either of these two past designs is going to find Infinite Darkness very different – and yet, equally rich in the kind of detail that made both Buddha Garden and Monkey Island so notable as places to visit – and places with a story to tell. A clue to that story lies within the About Land description for the setting:

Good and evil, water and fire, light and dark, are the essence of Infinite Darkness. The majesty of the gothic style, the occult symbolism and the dark powers of the vampires will immerse you on a hellish journey.

– Infinite Darkness About Land description

So it is that visitors find themselves arriving within the ruins of a chapel on the proverbial Dark and Stormy Night – and if not already set, it is at this point for the viewer to be checked to Use Shared Environment. These ruins (the marvellous Chapel Ruins by Marcus Inkpen, whose structures Gian has used throughout the region, giving them all a subtle connection of style and look, thus allowing them to become a natural part of the whole) sit upon an island, and give the first hints of the Light and Dark theme. To one side of the the chapel is a tombstone draped with a weeping angel. Facing it across the chapel’s worn floor is a stone plinth topped by an empty-eyed skull staring at the angel, as if mocking it and the idea of life after death.

A long and narrow bridge crosses the water to link the landing point. It is lined with further motifs conveying the ideas of light and dark, good and evil. These start on the left with a reproduction of Le génie du mal just outside the chapel, with its depiction of Lucifer becoming Satan, his crown held limply in one hand as his other feels the horns growing from his head even as his angelic wings have become demonic, bat-like membranes. Meanwhile, at the far end of the bridge is what might be seen as depiction of the corruption of innocence in the form of a naked woman giving herself over to the predations of a demon.

These motifs continue at the top of the stone stairway climbing up the steep side of the isle at the far end of the bridge, and the stone figure of an angel holding out a golden apple, a serpent wrapped around its torso. A clearer depiction of the Lucifer / Satan mythology and its link to the “fall of Man” I’ve yet to see; with the statue also underscoring the idea that both good (aka light) and evil (aka darkness) are spawned from the same roots.

It is before this figure that the adventure of discovery truly begins; one that I do not want to write above in great depth, as doing so would spoil anyone’s visit. Instead I’ll endeavour to offer some pointers for explorers.

The pool over which the statue of Lucifer/Satan sits is backed from a high waterfall, tumbling from beneath the shadowed for of a house occupying the island’s central peak. A stream exits the pools and curves around the north side of the peak to eventually tumble down into the cleft hewn between this island and an even taller one to the east. A path follows the course of the stream, providing access to both a tall bridge pointing north over the surrounding waters to another plateau of an island. Demons line the bridge, which is watched over by the decaying hulk of a stone gazebo, the demons giving a clue to what might be found on the far side of the bridge.

Neither bridge nor gazebo forms the path of the path however; instead, it crosses the stream as it takes the first step in its downward tumble by means of an old tree trunk, prior to continuing on by means of steps cut into the living rock that lead to the darkened maw of a tunnel as it beckons the adventurous inside.

A second path runs southwards from in front of Lucifer / Satan and around that side of the island’s peak, using a weathered board walk and mossy path to guide people to where a mix of ancient steps and wooden ladder provide access to the shadowy house above. In doing so, the path also provides access to yet another high bridge, tis one stretching its arm out to the south to touch another flat-topped island, this one home to the darkened bulk of a church, whilst the bridge and path are again watched over by a stone gazebo, thus one in far better condition than its northern cousin.

Straddling the flattened top of the rocky pinnacle, the house sits above two waterfalls to west and east, the latter also falling down into the cleft separating this island from the one rising even higher beyond it. A bridge spans this deep, narrow gap between these two isles, linking the front door of the house with a switchback path leading up to where the top of the taller island gives way to a the impressive bulk of a Gothic house built in the style of a castle. Shrouded in a veil of heavy rain as if trying to conceal itself from view and with thunder rumbling overhead, this house, with its towers and giant figure raised against its west face, appears to be a foreboding place.

Both of the houses offers a rich mix of ideas and motifs, with both leaning into the ideas of the occult and vampirism mentioned in the About Land description. With interiors by ViolaBlackwood, both should be explored fully, offering as they do their own details and sense of narrative for the imagination to explore – and I’ll say no more about them here so as not to spoil things, as noted above. However, they are not all that awaits; there are the aforementioned islands to the north and south to witness as well; and all I will say about these is that they are both very individual whilst together then further the theme of light/dark / good/evil.

Meanwhile, for others who do follow the tunnel below the smaller house and mentioned above, a further motif awaits in the form of a skeletal boatman standing in his vessel like Charon waiting to ferry the dead across the Styx. fortunately, the living do not have to take his boat across the misty waters: a rickety bridge spans them to provide access to another tunnel and caverns awaiting exploration.

Whether or not you are – like me – fascinated by the visual motifs and prompts neatly woven into the setting or simply love places that stir the imagination and represent time well-spent in exploration – or have a love of things occult / vampire -, Infinite Darkness offers a lot to see and appreciate, all of which is beautifully executed. For those who do share my fascination for symbols and motifs, I will in closing suggest you cam overhead and look down on the setting from above using your camera.

If you do, you might sport the region design, with it’s west-to-east orientation looks remarkably like the layout of a cathedral. To the west lay the entrance (the landing point), with its long bridge forming the nave, whilst the tall island with its Gothic house/castle sit as the chancel with its quire (or choir, if you prefer), ambulatory and apse. Meanwhile, the island to the north and south form the two transepts, their aisles and that of the nave coming together at the island with the smaller house to form the crossing.

Thus within its form, the region offers a further juxtaposition of “light” and “dark”: in form it resembles the “light” of Christian mythology, whilst the further into it one progresses, the more one is surrounded by the the “dark” of the occult and ideas of vampire and demons, with the latter form what might be seen as the most holy elements of a Christian cathedral, sitting as they do over the what might be seen as the location of a cathedral’s chancel, again giving focus to the idea that what we regard as “good” and “evil” are born of the same roots (our own imaginations).

All told, a superb setting and one deserving of time and thought when visiting.

Addendum

As pointed out to me by Gian, I did actually miss a detail within the build that is worth pointing out. Those who do delve into the tunnels and caverns should mouse-over the items they find within them carefully, as one has a hidden teleport. Those who find it will be transported to what I’ll call the layer of the vampire; a place which contains a sense of the ruins of Whitby and Bram Stoker (without actually being so), and carries with it a further element of the occult. With a vortex-like opening at one end, it also suggests it might be a further entrance to hell. I’ll say no more here, and leave it to visitors to discover.

SLurl Details

Infinite Darkness (rated: Moderate)

In the Lavender Fields of MMe Loutre in Second Life

Posted on June 13, 2024March 3, 2025 by Inara Pey

*Nathhimmel: Lavender Fields of Madame Loutre, June 2024 – click any image for full size*

From the east and south the land rises in a gentle slope, climbing gently to the west and north to meet with the upward sweep of land for the north side of the region so that all three slopes slopes form the low hump of a hill before falling back towards the western edge of the region. Across this landscape and broken by precious few trees, is spread a blanket of lavender, running from the water’s edge on all sides and drawn into regimented lines and blocks by avenues of grass in places topped by short lines of paving stones.

This is a tranquil place, the eastern shoreline interrupted by two bays pushing into it, the smaller of which looks like a giant thumb has been pressed into the ground to leave an indentation for the surrounding waters to claim as theirs. Such is the lie of the setting, were the wind to come from the east and passing over these bays, it is not hard to imagine it driving waves to where the shore breaks their progress so they transfer their momentum to the lavender, causing it to ripple inland and up the slope to wash around the house atop that single low hill.

*Nathhimmel: Lavender Fields of Madame Loutre, June 2024*

Boxy and long, the house presents a tiled roof to the sky which extends out over a north-facing veranda, affording it some protection against the likes of sunshine and rain. It is counterbalanced by the rising second floor of the house rising from the southern end of the house to provide sufficient space for a cosy bedroom. Aside from broken ruins a short walk down slope, the house is the only human-made structure on the island – and the only place still occupied.

With its low-walled garden lushly overgrown with flowers allowed to grow wild on one side and the other planted with cobbles, the house exudes the tranquillity that seems to flow outwards over the surrounding lavender and to the very edges of the region. Alone and at peace, this is the home of Madame Loutre, the last inhabitant of this restful setting, and the spread of aromatic plants growing around it are known as the Lavender Fields of Madame Loutre.

But who is she? I hear you ask, and where might this place be found? Well (and to ignore the surrounding waters, I’ll let Konrad (Kaiju Kohime) and Saskia Rieko explain, for they are the people who have made our journeys to this place possible:

In the secluded one-house village, nestled deep within the enchanting region of Provence, resides the mysterious Madame Loutre, an ethereal otter spirit … Madame Loutre is both a guardian and a secret keeper of the village, known for her wisdom and the enchanting, calming presence she bestows upon visitors. The villagers from nearby towns speak in hushed tones about her magical abilities and the tranquillity her lavender brings. This idyllic haven remains untouched by time, a place of quiet wonder and mystical charm.

– From the Nathhimmel website

Saskia and Konrad are, of course, the designers of Nathhimmel region settings in Second Life and which have appeared in these pages several times since the couple started offering their work as places for Second Life users to visit and photograph; and the Lavender Fields of Madame Loutre is the latest iteration of their work, having opened at the start of June 2024.

This is a design which – quite genuinely – does not require description or explanation; it speaks beautifully and clearly for itself. The house offers a focal point around which endless stories might be woven about the mysterious MMe. Loutre – who she might by, why the locals think she has magical powers, what has given her a love of lavender – and more. The landscape offers subtle opportunities for photography, whilst dotted around three sides of the region places to sit / rest are awaiting those who seek them. Should props be required for photography, then joining the local group (no charge) will provide rezzing rights – but do please remember to pick your thing up afterwards!

The landing point, located in the south-east corner of the region includes a link for obtaining additional information on the region (although the supplied notecard does give details on a previous Natthimmel design), and a teleport link to the region’s gallery – although this was without art at the time of my visit, so possibly awaiting a new exhibition. Neither of these latter points detract from the setting, which offers a relaxing and gentle visit for all who choose to drop in.

SLurl Details

Natthimmel: Lavender Fields of Madame Loutre (NewMoon, rated Moderate)

Exploring Second Life: Kingsand photographic region

Posted on June 10, 2024 by Inara Pey

*Kingsand, June 2024 – click any image for full size*

I recently received an invitation from .Tempest Rosca-Huntsman and her SL partner, John (Johannes Huntsman), to visit their latest project, completed under the banner of the Formal Knot group and in association with Kultivate Magazine and Art Hub.

Kingsand is a Homestead region designed by Tempest and adjoining the Kultivate Gallery region. It is offered as a location for relaxation and photography – and to mark its opening, it is also host to a photographic competition running through until June 30th, 2024 offering a combined prize pool of L$30,000 – of which more anon.

Accessed via the southern side of the Kultivate Water Haven region, Kingsand presents an open, semi-rugged setting sharing the same region surround as the former, thus allowing it to be enclosed on three sides with high mountains which add depth to photographs taken within it.

The land comprising the region has been divided into three parts, each separated from the others by water channels. The land directly adjoining the Kultivate gallery spaces is fairly low-lying, carrying with in a hint of a wildling garden, ancient paths and steps providing routes between the more even elements of the land, walls and gates offering a further sense of sub-division among the trees and flowers. To the east, this land forms a long finger of a headland, far rockier in nature, bordered by relatively open waters to one side and that larger of the channels cutting into the land on the other. Cut through by a narrow gorge, this headland ends in a low-lying promontory topped by a giant windmill.

Across the channel, the larger of two islands cam be reached via a stone bridge. Low-lying to the south and west, this island rises to a tall central peak with highlands reaching up to it from the eastern side. These slopes provide the means to reach the ruins of a cathedral or some similar structure sitting on a shoulder of rock thrusting outwards from the peak.

Apparently now the home of a library / story-telling space rich in flowers and blossoming vines and presided over by a dryad caved into a tree at its centre, the ruins might also be used as a means to reach the top of the mountain – although this does entail dropping down their flank and scrambling through the brambles at their base, and getting back again might be a challenge on foot, given there is no mean to climb back up into the ruins. Although that said, the bare peak is easily visible from the ruins, so such a climb isn’t really necessary unless you’re really wanting to take a photograph of yourself up there.

To the west, the land sweeps around the mountain and along the second of the water channels to reach another bridge, this one offering the way to the smaller of the two islands. The most rugged element of the region, this island forms two rocky hills cut through by a natural canyon. The latter leads the way to a deck built out over semi-turbulent waters and offering one of multiple places to sit and pass the time spread throughout the setting.

The overall design is such that the region might be enjoyed by multiple visitors without them necessarily tripping over one another, and with sufficient space for photographers to rez-out props for photography again without necessarily interrupting others. Those who wish to do so should join the Formal Knot group; there is no charge and auto-return is set for 90 minutes. This should be more than enough time to compose props and photographs – but if you take advantage of this and complete your work within the time limit, do please consider taking back your items.

Which brings me neatly to the June 2024 photo contest. Full details are in a notecard available from the region’s landing point – together with another card providing region information and rules – however, and in short:

Entries must comprise images taken within the Kingsand region, and entrants are limited to two such images apiece.
Entries must be submitted to the Kingsand Flickr group and bear the tag “Kingsand”.
Prizes will be awarded on the basis of L$10,000 each to two winners and L$5,000 each to two runners-up, for a total prize pool of L$30,000.
In addition, winners, runner’s up and a selection of commended entries to the competition will be exhibited at Kultivate Art Gallery at a date to be announced.

Sitting under a fairly neutral environmental setting, Kingsand is perhaps best suited to being photographed using your own EEP settings – the landscape being such that its naturally lends itself to a range of day cycles and settings extremely well. It also seems to lack any ambient sound scape, which is a shame given its natural beauty. However, accepting the region is primarily designed for photography, this does not overly detract from its appeal.

In all a superb setting ideal for photography and avatar studies. My thanks to Tempest and John for the invitation to make a pre-opening visit.

SLurl Details

Kingsand (rated Moderate)

Simurg’s mythical beauty in Second Life

Posted on June 7, 2024February 16, 2025 by Inara Pey

*Simurg, June 2024 – click any image for full size*

Located within the north-west corner of a Full private region which has been sub-divided into a series rental parcels, and which leverages the Land Capacity bonus, Simurg occupies a little under 4096 sq metres and is held by Lintu (KorppiLintu). It is offered as public space for visitors and photography, redressing it to suit the season and / or to offer different themes. The iteration I visited at the start of June 2024 carried the sub-title Ancient City, and contained a mix of ancient history wrapped with a touch of fantasy mythology.

Given its small size, the setting is seemingly easy to take in at a single glance, open to the water on two sides and the other two screened from the rest of the region intruding through the considered use of a main structure and two scenic backdrops. However, a simple glance can be deceptive; there is a lot more here than at first appears to be the case.

Perhaps the easiest way to think of the setting is as an ancient and once massive building – perhaps a temple; a place long since overcome by the passage of time. The landing point sits on the north side of the parcel, backed by great arches of a tall, ruined wall and looking across what was once a flagstone floor, now broken and open to flooding by the surrounding waters.

A good portion of this floor survives, pointing south-east towards stairs leading up to an antechamber apparently overlooking the rooftops of a large town or city suggestive of some where in Italy or southern Europe. Also pointing towards the antechamber is a high wall mixed with rock formations which seems to form the western boundary of the setting – although looking through its lower arches will reveal this is not the case.

Upon this wall, and looking down over the flagstones and water, is a line of statues which carry a Grecian styling about them. Further statues are set just above the waters at the base of this arched wall, although one of these is more Elven in look, thus providing one of the more fantasy elements to the setting. This is increased by the presence of stone-rendered sea beasts in the waters either side of the main flagstone floor. These in turn may have been called forth by the strange mer-like figures trumpeting the arrival of a figure upon a chariot and carrying a trident as he appears to have risen out of the sea behind the landing point.

All of this statutory add to the idea that this is a place steeped in history and legend (that charioted figure, for example, might well appear to be raiding up out of the sea, but he appears to in fact be Achilles, rather than any deity of the deep rising from the sea). However, little touches are add to the mix which bring together so much – as with the elven figures mentioned above, together with one of the statues within the antechamber also mentioned earlier. Rather than being something from ancient times, it is in fact a reproduction of a statue on the Honour Grave of Johannes Benk (1844-1914), located within the Vienna Central Cemetery, thus giving a further little twist to the setting’s narrative.

This great, semi-flooded hall is only a part of the setting. Sitting atop the high wall running on the west side, and above the statues thereon, sits a large table of rock forming a north-pointing promontory. Here, within a garden-like setting is evidence that however ancient the ruins below and around it might be, this is a place still very much in use. To one end stands the remnants of a modern brick-built structure with the bric-a-brac of modern life in and around it, presenting cosy place to sit and pass the time. facing it from the far end of the promontory is wrought iron gazebo with table and chairs under its open top, offering another place to sit, whilst between them, the garden is split by water tumbling from above and then down a gaping hole it has tunnelled through the rock so it might fall onwards to join the waters below.

A glance down through the hole created by the waterfall reveals a little campsite tucked out-of-sight from the main ruins and sitting on a rocky outcrop. But how is it, and this elevated garden to be reached? There is no means by which to climb the ruins / rocks to reach it, and the waters surrounding and campsite on its outcrop appear too deep to wade through. The answer is to follow the trail skirting the waters flood a part of the ground level area and running north, away from the steps up to the antechamber.

Lit by electric or gas street lamps, this path leads the way to a teleport portal sitting within a door-like ring of stones. Obey the instruction of Click to Teleport, and you’ll be carried up to the garden. A second teleport tucked behind the brick ruins will then carry you down to the foot of the waterfalls. From here it is possible to take stepping stones back through an arch to the main part of the setting, or – despite the depth of the water between shore and campsite – walk to the little campsite without getting dunked, courtesy of an invisiprim.

Making excellent use of the available parcel space and vertical elevation, this iteration of Simurg has a welcoming mystical air to it. For me, this was increased by the parcel’s name: “Simurg” is one of the alternate spellings for the benevolent bird of Persian mythology, the simurgh. This is perhaps more happenstance than intentional – as noted, the parcel’s design seems to change over time (at least going by Lintu’s profile picks), rather than intentional – but it’s still a nice convergence between name and theme.

Certainly, the atmosphere within the setting is enhanced by the local environment settings (which I admittedly tweaked very slightly for the purposes of the images here), and brings together a mix of influences in a pleasing cocktail of sights and opportunities for photography. It might perhaps benefit for a slightly more immersive soundscape, but this is a very minor niggle and in no way detracts for the overall beauty and appeal of Simurg.

SLurl Details

Simurg Ancient City (Myra rated Moderate)

	didohaas on A short personal note and…
	Inara Pey on A short personal note and…
	Inara Pey on A short personal note and…
	Inara Pey on A short personal note and…
	Whirly Fizzle on A short personal note and…

SLurl Details

Share this:

An island at the end of the world, where seething seas break against the rocks of the coast. Where craggy and low, rugged hills offer views to forever. Where rural life is quiet, but full, and nothing really matters but the moment.

SLurl Details

Share this:

Good and evil, water and fire, light and dark, are the essence of Infinite Darkness. The majesty of the gothic style, the occult symbolism and the dark powers of the vampires will immerse you on a hellish journey.

Addendum

SLurl Details

Share this:

SLurl Details

Share this:

SLurl Details

Share this:

SLurl Details

Share this: