Category: Exploring Second Life

I took some time to build something a little more ambitious I admit…I welcome you to this new edition, the first chapter of a long story. This story will evolve as the project does, so don’t be in too much of a hurry. Let’s not rush. Let’s evolve together in this adventure.

– Len Teardrop

With these words on her Flickr stream, Len Teardrop invites people to visit her Lenixus Project ~ Chapter I : The Snail Princess, an engaging installation occupying a sky build within a quarter (or thereabouts) of a Full private region.

This is intended to be an evolving story, told both visually and through prompts and sounds, with Len planning on presenting a new scene (a new chapter?) about every four months – although as she notes in the About Land description, the entire idea is still evolving, and so things might not be stable insofar as direction, updates, and so on, are concerned.

As it stands at the time of writing, the installation comprises a number of elements, starting with the landing point. This serves to provide an introduction to the story, present links to view the installation’s Group and Flickr and provide instructions on viewing the installation (essentially just set the viewer to Use Shared Environment and to which I would add, make sure that local sounds are enabled, as there are collision-triggered spoken word narrative elements in places); all perfectly presented as writing on a chalkboard and as drawing.

Note, as well, that the EEP setting used within the installation are available as a gift leaning against one of the chalkboards for those who wish to take them.

That morning she had resigned herself to walking through the mirror. The unknown, which was hidden behind the pale reflection of its slim shape, frightened its reason with obscure doubts and uncertainties, but her curiosity and her need for constant flight made her heart beat with an arrogant rhythm that led her to fall beyond the mirror.

That morning it all started.

– Lenixus Project Chapter I introduction

From here, passage through the door drawn on one wall carries visitors through to the first major scene.

Offered in the same white as the landing point, the first scene has a trio of vignettes, all laid out in such a way that they might be photographed as a whole, or as individual elements. Each has plenty of opportunities for taking avatar–centric image, and they should each be examined carefully, as there are a multitude of details which might help frame your perception of the tale being told.

What that tale might be is really open to interpretation; I found myself led in a certain direction, but as this was likely a result of my own personal bias towards matters of identity, adolescence, maturity, and growth, I’m not going to say any more here because I rarely don’t want to impinge my thinking on yours.

All I will say is that there is, perhaps, an interesting question to be asked from the outset; one posed by the framing paragraph of the story as it appears on its chalkboard: is this a tale told from the perspective of a child or young person (as suggested by the drawings and the use of the term “princess”), or might we actually be witnessing the narrative from the point of view of a much older person, a woman perhaps looking back on days passed? This may well become clearer in future chapters – but the fact that the question might be asked can have an interesting effect on how the entire installation might be interpreted.

Passing from this initial trio of vignettes to the next scene is a case of following in the footsteps of that girl / woman – finding and then stepping through a mirror (follow the water to find it!) and into the unknown.

Here, under a bent lamp, sits the figure of a man – father? Grandfather? Stranger? You decide. Reading a paper, he acts as the anchor point for three surrounding scenes, with opportunities to sign the installation guestbook and offer a donation to Len’s work on either side of him.

If there is an order to viewing the three scenes, it is one I didn’t see noted – but I would recommend taking the School first (indicated by the iron gate) the (possibly) indicative name Ecole Jeanne d’Arc mounted on the wall beside it, then move on to enter through the Castle gatehouse, and leave the road tunnel until last.

Once again I don’t want to say much about the School or the Castle. Both appear rich in symbolism and metaphor and offer multiple opportunities for avatar-centric photographs. All I will say is that to leave the School, pass back through the doors (they will be behind you on entering), and to leave the gardens of the Castle, pass back through the hole in the wall (again, behind you on entering).

As with the trio of vignettes in their white space, both the School and the Castle / garden (which could perhaps benefit from a surround to block out the looming distraction of the residential skybox next door) are rich in content and elements which might be taken as either symbolic of the story, or metaphors to direct how we might interpret it (for example, rightly or wrongly, I found the manner in which the thorny brambles are breaking through the walls of the garden to be potentially symbolic of the story’s possible meaning).

The final scene, reached through the road tunnel, drops visitors into a more worldly setting which is in part literally under construction, with a couple of men putting up prims and slapping on paint. This offers the suggestion that the tale is to be continued here, although it also contains elements which might already be a part of the story, together with at least two potential exits-in-waiting for onward transition. As such, it offers both an enticement for what is yet to come and further opportunities for considering the story thus far and  / or taking photos.

Imaginative, creative and with a near-perfect execution, Lenixus Project is engaging, intriguing, photogenic – and well worth visiting.

SLurl Details

• Lenixus Project ~ Chapter I : The Snail Princess (Enoshima, rated Moderate)

Open for a period of a month – through until late May 2024 – is a new Homestead region design by Dandy Warhlol (Terry Fotherington). Called Vindfjell, it is a marvel of windswept, Nordic beauty, balancing the region perfectly against the surrounding backdrop.

It’s my wont to often try to place regions with natural settings like this against locations within physical world which they might – if they existed – reside, or at least helped to inspire them. In some cases, this is helped by the region creator pointing to their inspiration or inspirations for their designs; sometimes it is possible to take a lead from the overall design and the designer’s background; other times, it is pure guesswork and imagination on my part.

With Vindfjell, it might be easy to point to Telemark County in Norway – specifically the Vindfjell mountain and nature reserve. However, whilst the name might well be taken from that area of Norway, I’d suggest that’s as far as the inspiration goes; the region itself folds numerous ideas and elements into it so that it is possible to see influences from across the Nordic countries of Finland, Sweden, Norway and Iceland and their associated autonomous regions, together with the likes of Denmark’s Faroe Islands and Greenland.

This is a place of rugged beauty and hardy living; a sheltered island sitting within fjords and inlets where fisher folk can live protected from the harsher aspects of North Atlantic weather, and from which they could depart in their boats to ply their trade, perhaps supplemented by a little sheep farming (although the sheep also likely help feed them!).

Given this, and as one might expect, the houses and cabins tend to confine themselves to the coastal aspects of the setting, where they can be easily reached by boat; indeed few are without a wharf, jetty or wall where boats may come alongside. Most – as typical of many Nordic houses in remote / rural areas – have a semi-turfed roof to help with insulation. These and the rugged nature of the island I found particularly evocative of my times in the northern parts of Iceland around Akureyri (which remains a place with one of the most spectacular runway approaches I’ve experienced, flying down through the ever-narrowing fjord) and Mývatn.

Most of the setting’s interior is given over to rocky beauty, with scrub grass and the occasional tree breaking the ground – something else that brought to mind parts of Iceland (and indeed, some of the remoter points along the north coast of Scotland I’ve seen).

However, the one exception to this is a large industrial-like structure sitting somewhat inland, balanced between a deep gorge cutting its way through the landscape and a large body of water. Its presence, coupled with the electrical power lines close by together with the water and nearby falls might suggest this may once have been a hydroelectric power generation centre, or perhaps a place where geothermal energy had once been used to provide local power.

Or maybe the building had some other purpose, now being deserted; the choice is left totally open to the imagination – which adds further to the beauty of the setting, allowing as it does visitors to cogitate their own narratives as to the history of this place.

A further hint that the island once had something of an industrial use sits on the north-western headland, misty waters encroaching upon three sides. This is the kind of promontory many would look to site a lighthouse. Instead, Dandy (wisely, in my opinion) eschews that cliché and instead offers an ageing storage tank as a sentinel  overlooking the waters, the gentle twist of steps around its circumference making an easy climb to its flat top, the threatening graffiti notwithstanding!

The landing point for the region sits somewhat towards the centre, amidst the scrub grass where sheep are grazing peacefully, having wandered up a narrow valley from the little farmhouse / fisherman’s cabin on the southern coast. As well as providing the route back to that cabin – no doubt followed by the sheep as night closes in, and the sheep dog herds them gently home – the grassland also presents a path and board walk down to the north side of the land, from where the storage tank mentioned above might be reached, together with the grassy spit of land forming the island’s northern side and which provides space for a couple of windswept houses.

In addition, the graceful arc of a stone bridge spans the gorge from this sheltered grazing, giving arrivals the means to reach the old industrial unit with its attendant body of water or follow a fence-marked trail down to the little hamlet occupying the south-east east of the setting, as they find shelter against the elements on their southern side by a blocky bluff of a headland poking out into the sounding waters.

Throughout all of this, Dandy has added further ambience to the setting via the region EEP, and through the use of mesh “puff” clouds, low-lying misty and floating seed heads float and flow as they are caught on the wind (in some cases to be blown helter-skelter between the narrower walls of rock, where one much reasonably expect any breeze to be funnelled and accelerated). That said, the static nature of the mesh clouds are a little at odds with the haunting hiss of the wind present in the sound scape – but one can forgive their refusal to move simply because they add a further depth to the setting.

Dandy calls the setting “ephemeral”, mostly because Vindfjell is only with us for a short time. As such, it’s a fitting term – but one to which I’d personally add the word “beauty”, as the setting really is glorious in its natural beauty and sense of being. A fabulous celebration of the rugged pulchritude of Nature, this is a setting very definitely not to be missed.

SLurl Details

• Vindfjell (Harmony Bay, rated Moderate)

It was off back to the Full private region held by Dianna Fluffington for me recently, and a visit to her creation of Blue Finch Blossoms Hollow.

This actually marked my third time at the region in the past 12 months, having previously visited in April 2023 and again in November of that year (see: A Blue Finch Spring in Second Life and A Blue Finch Frosty Hollow in Second Life). However, both of those iterations of the region design were collaborative works between Dianna and her former partner Grant Wade (GMi7); so the occasion of this visit marked my first time to an iteration of the region that is solely Dianna’s design – and it remains as eye-catching and photogenic as ever.

As with the two past iterations of the region, this version for Spring 2024 offers a pleasing mix of themes and influences. The subtle touches of fantasy (such as via the elven-like lanterns lighting the many paths through the setting) are present, there is much to appreciate in terms of natural flora and fauna, superb use is made of landscaping elements to give the setting a unique, rugged look and beauty which is softened through the use of grasses, trees, water, shrubs and paths.

Whilst not strictly enforced, the landing point sits to the east of the region, tucked quietly between the north-east and south-east quadrants and within the single paved street of a small gathering of places of businesses, all neatly framed by a mix of walls and water channels, flowerbeds and trees. Within the area, the little shops are open to visitors, whilst outdoor spaces offer plenty of space for sitting down and passing the time.

It is here as well, towards the southern end of the street, that visitors can find information on the region and its in-world Group, an invitation to hop up to a sky platform to visit an art exhibition by Cammie Carver and hosted by The Wanderers Relay for Life team (all donations, etc., to RFL of SL via the team), and directions to a horse rezzer where visitors can take a tour of the region on horseback. Unfortunately, the rezzer refused to work for me, so I’m unable to mention the nature or extent of the tour.

For those opting to explore on foot, there are a variety of paths leading away from the landing point and the little hamlet of shops and on through the region. So many in fact, that I’m not going to even attempt to chart a route for you to follow from here; the best thing to do is just step through the gates or over the little bridges from the town space and start wandering – whichever way you go, you will be richly rewarded with things to see and do.

In terms of the latter, as well as the horse ride, the immediate surrounding to the town offer mini golf to one side and on the other, on the shores of the central lake, the opportunity to rez one or more (if you are in a group) inflatable tubes. These will whisk you around the waterways (at a pretty brisk pace!), complete with your personal supply of beer / drinks. There are also zip lines awaiting discovery and use by the adventurous.

One of the latter sits between a elevated events area tucked into the north-west corner of the setting, on a terrace covering a table hill. Given the other path up to this region is long and winding (but well worth the effort of finding and following given it does take one on a tour of a good part of the region and offers so excellent views from some of the higher aspects of the landscape), this zip line offers a quick and easy ride back down to the lower-lying elements of the setting for those who do not wish to retrace steps.

But to return to the tube ride: this deposits riders in the shallows of a cove directly below the events terrace noted above, which is home to one of two stretches of beach making up the setting. A rocky arch from here provides the means to return of the region’s grasslands and gardens. Once through the arch, it is possible to spot another of the region’s zip lines and also appreciate another touch of the fantasy elements found throughout, this one in the form of ruins and a quiet swing waiting for romantics.

Places to sit can also be found through the region – from converted rowing boats through decks built out over the waters, parasoled tables on terraces and squares or rafts on the water, through to the region’s little cafés and bars or the open-air cinema (complete with offerings of pizza and buckets of nibbles.

Blue Finch Blossoms Hollow is one of those places where just as you convince yourself you’ve seen everything there is, something else pops up in the form of an unexpected turn of a path or a hither-to unseen passage between trees or under rocky heights, and so brings you to something else to enjoy.

Such a discovery might be a little vignette of animals or a place to sit, a romantic corner, the unexpected sight of water flowing upslope (such is the magic of the region!) or another such unexpected view. As such, it is genuinely a place where the more time taken in exploring, the greater the rewards to be reaped.

Those seeking an immersive location bringing together assorted themes and ideas and which offer huge scope for photography, relaxing, having a little fun or romantic interlude – or indeed, a combination of all of these  –  will undoubtedly find Blue Finch Blossoms Hollow an ideal destination in their Second Life travels.

SLurl Details

• Blue Finch Blossoms Hollow (Pottery Hollow, rated Moderate)

Update, July 2025: Venus by the Water has closed.

Elizabeth (ElizabethNantes) and Cecilia Nansen are two women in Second Life noted for their creativity. Elizabeth is a creator who has produced multiple popular region designs over the years, several of which I’ve previously featured in these pages since around 2016 – the last time being her excellent Hear How Your Landscape Should Sound, produced in collaboration with Electric Monday (see here for more).

Celia Nansen is one of Second Life’s premier photographers noted for producing evocative and narratively rich avatar studies, someone whom I’ve again often featured in these pages since the unveiling of her very first exhibition in-world back in 2017 (see here for more).

In March, Elizabeth and Cecilia opened a collaboration of their own to Second Life users, one that brings together region design, art and music in a beautifully considered and executed Homestead region they have called Venus by the Water. Fittingly, given the region is the product of two in-world creative talents, Venus by the Water is also offered as a tribute to two exceptional talents from the physical world: Bjork and Polly Jean Harvey (more professionally known as PJ Harvey).

This is an idyllic setting, presented as a low, temperate island which the surrounding waters are in the process of breaking up. Already they have eroded the narrow neck of sand that once linked the two halves into a whole so that a broad wooden deck is now required to maintain the connection between the two segments of land. This deck is set as the region’s landing point, and is home to a tip jar and local Group joiner. From it, visitors can take their pick as to which half of the setting they choose to explore first.

The larger area of land, forming a W-shape which extends from a narrow tail pointing eastwards along the southern side of the region, through to a rocky headland lying to the north-west, is largely sandy in nature, although the west side is home to lush grass and a small woodland area where horses might be found grazing. A stream cuts right through this land, separating the north-eastern most part of it off from the rest, shingle beaches to the north and west bracketing its grassland, the stream doing the same to the south and east.

Tucked into the south-western corner of this landscape, between the woodlands to the north and the sands to the east, sits the Gallery Bjork. At the time of my visit, the 2D work on display came from artists responding to a call from Cecelia and Elizabeth for submission of art on the theme of Venus on the Water (hence the décor within the Gallery space with a tide gently lapping over coastal reeds and grass).

Outside, on the rear terrace might be found a sculpture by Mistero Hifeng keeps a quiet eye on things, whilst the front room of the gallery presents an image of PJ Harvey and Bjork from an interview published in (I think) 1993 or 1994, and which also featured American artist Tori Amos. Rendered in monochrome, the photo faces two reflections of its form, each featuring Elizabeth and Cecilia.

The smaller land mass for the setting sits to the north-east, cupped between the arms of the W. It presents a rugged by lushly flowered grassland bordered by trees, an earthen path cutting through it from the landing point to where the Café Polly sits atop an extensive deck reaching out over the waters. Broadly split into two indoor seating areas bracing the central service area, the café additionally offers outdoor seating under parasols for those who prefer, either on the deck itself, or on a smaller deck a very short walk from the café’s door, overlooking the bay that cuts deeply into the land.

This is a peaceful location, although the aged and bent tree that seems to be trying to stretch its branches toward the café and touch it, together with the corpse of another tree angling itself sharply over the path leading to (or from, depending on your point of view) the café, suggests the island has seen its share of strong winds and harsh weather. Even so, there is nothing now to interrupt the gentle rocking on the rowing boats tied-up at the pier just below the café’s deck.

These rowing boats, rocking gently in the swell as it approaches the shore, are just one of the details that further bring this setting to life. There are many more to be found throughout which both give depth to the region and often offer encouragement for people to stay and enjoy their time here.

For example, There’s a little camp site out on the sand of the south-east headland and watched over (in a manner of speaking) by the sheep grazing on the stunted grass close by. Then, almost mid-way between the landing point and the Café Polly, the path offers a short branch leading to a raised deck. This is home to a pair of loungers looking out over this bay cutting so deeply into the land. In doing so, they draw attention to another rowing boat, this one anchored out in the sheltered waters to offer another place to sit and past the time, either alone or with someone close to you. Still more such tranquil places await discovery – but I’ll let you find them on your visit 🙂 .

Venus by the Water is finished in an EEP setting which compliments it perfectly, and thus really is best seen under it. The region also fears a very subtle and fitting sound scape, so I recommend having local sounds active when visiting as well. The audio stream for the region has also been carefully curated, and features at times an interesting mash-up or two between Bjork and PJ Harvey, and well as some of their own recordings.

All told, a perfectly presented and relaxing setting – as one would expect from two creative talents like Cecilia and Elizabeth.

SLurl Details

• Venus by the Water (Golden Island, rated Adult)

Still and In Stillness sit as a pair of Second Life regions (one a Full private region leveraging the available Land Capacity bonus, and the other an adjoining Homestead region) held and designed by Matchbook Monday. Together, they more than live up to their About Land description – a place to still the mind and relax.

The two regions are presented as a temperate archipelago sitting – going by the region surrounds – just off the coast. In terms of which coast, I’d guess that by the lie of the land and Matchbook’s own origins together with the abundance of Canadian flags, either the east or west coast of that nation; say, somewhere along the British Columbia coastline or maybe somewhere within the gulf of St. Lawrence.

Although that said, it could just as easily be imaginatively set within somewhere like Lake Winnipeg (and even then, a boathouse in the setting displays a map of America’s Cape Cod, further making the setting a fascinating mix of potential influences!).

But wherever it might be placed, if one were inclined to try to pin it down as a place of the imagination with a physical world foundation, there is no doubting the natural beauty of the setting. The Full region comprises three islands, two of which are quite large, the northernmost of which is home to the main landing point. heavily wooded, the island sports a small cluster of waterfront businesses at its western end.

A broad walk passes around the northern side of the island to reach a small marina, sitting almost opposite a motel sitting alongside a quay on the island’s southern side. To one side of the motel, and rather incongruously given the wild nature of the landscape and setting as a whole, there is a parking lot hosting a couple of saloon cars – not that they really have anywhere to drive easily. It is perhaps the one eccentricity within the entire estate, and offers something of a little visual twist.

The eastern end of the island is home to a campsite dotted with caravans which appear to be available for rent. This end of the island also offers views across a narrow strait of water to its southern neighbour, which almost matches it for size. However, the easiest way to reach this island is via the bridges which connect all three islands. Both the second large island as the smaller isle making up the trio are similar inasmuch as they both share the same landscaping as the first – unsurprisingly, given this is an archipelago –  and they are both home to small collections of rental cabins.

This latter point does not mean either island is off-limits to exploration; there are paths and trails running through both which are open to wandering. Rather, it simply means that visitors should be aware that the cabins, like the caravans mentioned above may be occupied and deserving of privacy.

That both islands might be explored can be seen in the provision of the two jet ski rezzers available – one per island. Open to public use, these allow visitors to scoot around all of the islands in the group – particularly those scattered across the Homestead region, viewing them from the water.

Throughout all of the main islands are multiple places to sit and pass the time – camp sites, decks, outdoor eating and drinking places. Those with keen eye might also spot places to fish and also bicycle rezzers for a little fun in exploring the main islands. These all give the setting an increased since of space, joining with the selected EEP settings and landscaping to add to the ambience of the regions – something further enhanced by the moody set of the misty waters around the islands.

Rounded-out by an ambient soundscape and with birds wheeling overhead, the two regions of Still and In Stillness (which have been given the names In Stillness and Still the Mind by Matchbook), are beautiful designed and implemented, offering a lot to appreciate and explore, and plenty to do. And needless to say, the setting is highly photogenic.

SLurl Details

• Still (rated Moderate)