The caves and caverns of Rosehaven in Second Life

Clair View Ruins and caves, The Realm of Rosehaven, September 2022 – click any image for full size

The Realm of Rosehaven  (operated by SelenaAnansi and Serra Anansi) is one of the oldest fantasy / medieval themed residential and role-play communities in Second Life. Totalling 15 regions, it offers a rich mix of private and public spaces, it is a place with much to see and discover; a place that can be called home by those with a focus on fantasy.

We offer you a place to hang your hat, rest your feet, and let the stress of the outside world fade away in a fantasy British Isles styled setting.  Architecture and themes are inspired by fairy tales, lore, myths, and possibly your dreams.  Medieval and fantasy clothing is welcomed and encouraged; however, there is no set dress code.
Rosehaven is a land of magic and dreams – the living embodiment of imagination and creativity, where humans, elves, fae, shapeshifters, and other creatures can peacefully coexist among the mist-covered lands.

– From the Realm of Rosehaven website

Clair View Ruins and caves, The Realm of Rosehaven, September 2022

I was drawn to the estate after learning about the extensive network of caves, caverns, tunnels and places of mystery and magic which offer the Second Life explorer much to see and – well, explore.

This is a network with many points of entry (and exit!), which exists underground, under the sea and in the air, the various elements linked by an experience which allows for relatively seamless teleport movement between locales. Given the multiple points of entry, how and where a traveller may come by the system is a part of the fun of discovery; it might be a case of noticing a shadowed archway between houses and then walking through it, or finding a ladder leading down into the bowels of the earth from the basement of a public building, or even the ornate doors at the foot of a cliff which open at the touch of a hand rather than the utterance of “Mellon!

Clair View Ruins and caves, The Realm of Rosehaven

For the purposes of my explorations, I opted to go the easy way – via the entrance below the Temple of the Oracle at Clair View Ruins (designed by designed by Snow Kelley). Step through the stained glass of the portal, and your voyage begins at the Cavern of Inner Wisdom; pay attention to local chat for a clue on how to proceed – but before you do move onwards, take the time to explore the halls built within the cavern. And when you are ready to travel onwards, don’t be fooled when confronted by an apparent blank face of rock after following the Cavern’s whispered instructions.

Beyond this first cavern lies an underground fortification, a place of hewn and shaped stone walls, where broad stairways of wood and stone connect different levels and long halls and shadowed arches hint at further destinations. Designed and built by Talus Ravenheart, it sits as a kind of hub with multiple opportunities of onwards exploration. But again, before stepping through any of the archways, take a moment to explore the passages also offered, because again there are places here to be discovered: catacombs with the memory of one passed, a broken wall leading to natural caves beyond which in turn lead to further secrets and spaces awaiting discovery.

Clair View Ruins and caves, The Realm of Rosehaven, September 2022

Such is the nature of this “hub” (for want of a better term), that describing what might come next is impossible, thanks to the multiplicity of options for onward travel available. And even if there were a proscribed route, providing a blow-by blow description of what might be found would spoil the experience of exploring the cave and caverns for yourself. Suffice it to say that as you select arches and routes and shaded tunnels, so might you find yourself in the abode of a practitioner of magic or the hideaway of pirates or tunnels adorned with crystals, leading the way to elven halls – or more besides; each one designed by one or more of the residents of Rosehaven, and thus given an individual flavour.

Along the way it is possible to come across interactive elements in various places and rooms as well – so should you find yourself in, say, a cellar where grapes are pressed into wine (to name but one) – be sure to mouse-over anything that looks like it might not actually fit with the rest of the room / cavern. Also, given that any route might lead you to an alley or dungeon or gateway or stairs leading to the world beyond the caves, the tunnels offer a unique means for discovering and exploring public spaces within the broader Realm; just remember that teleports into the network may not always be a portal or hidden in shadow; some might lie behind an innocent-looking door…

Clair View Ruins and caves, The Realm of Rosehaven, September 2022

Whether used for exploration or for role-lay, the caves of Rosehaven add a further dimension to this engaging community, and are more than worth a visit.

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Art and allegories in Second Life

The Vordun: Allegories of Artemisia, September 2022

Recently opened at The Vordun Museum and Gallery, operated and curated by Jake Vordun, is a stunning exhibition of art from the physical world offering a celebration and exploration of the life and work of Artemisia Gentileschi (1593-1656) also known as Artemisia Lomi), one of the most accomplished artists of the Baroque period, (c. 1625-1740).

Born in Rome on the 8th July, 1593, the eldest child Prudenzia di Ottaviano Montoni and noted Tuscan artist Orazio Gentileschi, Artemisia took up art at an early age, and was producing professional works by the age of fifteen. Like her father, she followed the innovations set by Caravaggio – such as the use of real models – whilst also developing a natural eye for the use of the brush and in the mixing of paint and use of colour to depict the female figure with a naturalism which extended beyond the more idealistic approach of her male peers.

Artemisia Gentileschi: Self-Portrait as the Allegory of Painting, 1638–39. Via: wikipedia

Initially regarded more out of curiosity than in recognition of her skills – she came to wider public knolwedge as a result of the trial of artist Agostino Tassi, who raped her when she was 18 – by the time she was in her early twenties, she had become the first woman accepted into the  Academy of the Arts of Drawing in Florence.  As her work gained a broader audience, so to did her career flourish through patronage and hard work, her art carrying her from Florence back to Rome, thence to Naples – and even to England and the court of King Charles I.

As well as its depth of realism, her work is notable for its focus on women from myths, allegories, and the Bible, with many featuring herself as one of – if not the – protagonists. Her art eschews the more accepted view of the female form – that of a gentle, sensitive, vulnerable creature – to instead present women as figures of power, strength, and the equal of men.

The exhibition at The Vordun – entitled Allegories of Artemisia – is an extensive look at Artemisia’s work offering one of the most unique gatherings of reproductions of her art to been seen outside of the printed page.  A collaborative display by Jake Vordun (producer), Marina Münter (vivresavie) – curator; Paul Gils (ObertonX) – research assistant; and Cibele Cibernética (profetadigital) – graphics designer, it is a multi-room exhibit made all the more abosrbing by its non-linear approach to Artemisia’s life and art, one which – in the words of those responsible for the exhibition:

[Traces] a parallel between the the characters she depicted in her paintings and her own life, the visitor gets the chance to experience real scale works by her and artists from the same period, given the chance to analyse visually the aspect of her work.

From the introduction of Allegories of Artemisia

The Vordun: Allegories of Artemisia, September 2022: Judith Beheading Holofernes (left: Caravaggio, c.1599; centre: Artemisia Gentileschi, c. 1614-20; right: Artemisia Gentileschi, c.  1612-13)

On accessing the exhibition from the gallery’s main hall, vistors should follow the route through the opening to the right. This takes a route through a series of rooms, starting with a general introduction to Artemisia Gentileschi, followed by a series of self-portraits that help into introduce both the artist and the artistic tradition of a painter focusing on a subject more than once during their career.

From here, further rooms offer reproductions of some of Artemisia’s more noted works drawn from biblical stories (including from deuterocanonical books of the Old Testament), together with reproductions of the same subject by her male contemporaries – thus providing that opportunity to directly compare the work of Artemisia with her contemporaries, and appreciate both the uniqueness of her depiction of female characters and the depth of naturalism found within her work.

Wall text in each room help contextualise the subjects of the paintings and also to provide historical / biographical information (such as on Artemisia herself or her father) where relevant. This set of rooms culminate in a three-part section dealing with the deuterocanonical character of Judith which include both Judith Beheading Holofernes and Judith and Her Maidservant. This in itself is an exquisitely framed and presented series of images – some of them the most famous of the Baroque period – forming an exhibition-within-an-exhibition.

The Vordun: Allegories of Artemisia, September 2022

Beyond these initial rooms lies a large hall that brings together further pairings and small groups of paintings by Artemisia and other artists of her period (one of which includes a piece by one of her few female contemporaries – Elizabetta Sirani), and well as individual pieces by Artemisia. This is bracketed to one side by two further “themed” sub-sections entitled Church Commissions and Mary Magdalene.

Throughout the exhibition there is a wealth of information carefully brought together by the organisers. Each painting is presented with a plaque supplying the title of the piece, the name of the artist, the approximate time in which it was painted, and where it resides today. In  typical Vordun style, these plaques can be clicked to display their information in local chat. Meanwhile, the main hall includes a timeline of Artemisia’s life, defined in terms of the recognised periods of her work as an artist, and the notable events within them, together with a small display of works by other artists and inspired by her work and life.

The Vordun: Allegories of Artemisia, September 2022

Since its inception, the Vordun has presented a series of long-duration, richly immersive exhibitions that seek to replicate the experience gained within a physical world museum, whilst presenting exhibits which either cannot be reproduced in the physical world or, if they do have something of a  physical world analogue, are far more accessible than their counterpart might be. All of this makes The Vordun an engaging visit, and Allegories of Artemisia adds to this enormously.

When visiting The Vordun, do be sure to accept the local experience and specifically for Allegories of Artemisia, make sure your viewer is set to Used Shared Environment.

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Cica’s Pink Fairytale in Second Life

Cica Ghost: Pink Fairytale – September 2022

Every one loves a fairy tale, the opportunity to escape to a world where our imaginations can be exercised, to explore to lands far away, share in adventures and see good triumph. Fairy tales are stories we gain exposure to at an early age, and the four words that so often start them tend to remain with us forever – something English author Sir Philip Nicholas Outram Pullman once noted,  both in terms of the memories hearing the words can evoke and the escape they offer.

This power of fairy tales is the subject of Cica Ghost’s latest region-wide art installation which opened on September 12th. It takes as its foundation that quote from Pullman – an author who has perhaps enjoyed renewed exposure to a public courtesy of the BBC adapting his coming of age, multiverse-spanning trilogy His Dark Materials into a television series.

Cica Ghost: Pink Fairytale – September 2022
Once upon a time lasts forever.

– Sir Philip Pullman

Entitled Pink Fairytale, the setting offers an environment in keeping with its name: a pink landscape beneath a pink sky;  a place where pink flowers and trees climb towards the sky, and where the buildings and features of the setting resemble cakes and edibles topped with icing, and the cups of a carousel appear to be filled with ice-cream or some other delight, marking them as a haven for allowing the child inside to revel.

This is a place populated by animals and characters who in turn suggest stories and tales to the active imagination, where thrones with ears await a king and queen – or perhaps a princes and princess – the jug between them perhaps bringing forth thoughts of magic lamps. Elsewhere a princess can indeed be found, together with an entourage of geese – also often characters found within fairy tales –  and watched over by a elephant which, if not fairy tales, when certainly other famous childhood stories.

Cica Ghost: Pink Fairytale – September 2022

Scattered with little vignettes such as these and complete with Cica’s many places to sit or dance or – in the case of the bubble-burping fumaroles – float. Pink Fairytale is another light and fun installation form a Second Life artist who consistently offers us a reasons to smile. So, should you decide to hop over and experience Cica’s work first hand, do please consider making a donation to help her continue to keep us smiling.

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Autumn at Sainte Rose sur Mer in Second Life

Sainte Rose sur Mer, September 2022 – click any image for full size

On the advice of the Destination Guide – and also to give Firestorm 6.6.3 with the Lab’s Performance Improvements something of an exercise, I hopped over to Sainte Rose sur Mer. This is the 21,000+ square metre parcel designed and held by Dandy Warhlol (terry Fotherington) occupying most of the eastern aspect of a Full private region that has the additional Land Capacity bonus available for use by those renting there, and which I last visited in December 2021.

At the time of that visit I noted that Sainte Rose sur Mer presented “a refreshing break from the current round of winter-themed regions by presenting visitors with a little corner of Mediterranean France with a beach to the southern aspect … and a coastal, almost rustic corner of a town … that offers little walks and corners to explore”.

Sainte Rose sur Mer, September 2022

This is still very much the case with the updated design for the setting, which sits now dressed for the autumnal season. within it, there is much that echoes the look and feel of the former design in terms of architecture and layout, something that gives an overall sense that this is a further, and previously unseen, part of that little town Dandy first revealed to us in late 2021.

The landing point is located towards the south-east corner of the build, at a point where a small cobbled square opens to one side to overlook what might have once been a natural cove, but which has been built up over the years such that it now sits as a home to little wharves and a tiny, trapped shingle beach. Facing this overlook from the opposite side of the cobbles is one of the entrances to the BarDeco club.

Sainte Rose sur Mer, September 2022

Always a staple of Dandy’s personal builds, BarDeco here retains its open-air look and feel, sitting within a large courtyard area now bounded on all sides by buildings and high walls. It has an attractive, ramshackle look to it which is always instantly engaging – a hallmark of the BarDeco designs over the years -, the broken floors of the upper level suggesting that at least part of the area occupied by the club might have once been roofed over, although what it may have housed if so is entirely a matter for the imagination.

Bracketing the club to either side are two south-north thoroughfares which between them offer routes of exploration. The first of these, which includes the cobbled landing point, connects the southern beach and the tall form of houses, hotels and beachfront places of business overlooking it, with a small “residential” area (not rentals, just a grouping of publicly-accessible houses) at the northern end of the setting. In doing so, it passes through a cosy street of little businesses and tall townhouses, arched gateways and tunnels denoting the limits of their influence.

Sainte Rose sur Mer, September 2022

Along this street are reminders of the prior iteration of Sainte Rose sur Mer I visited in December 2021 – the steps gently connecting the different levels of the town, the gateways, the little stone bridge (now rubbing shoulders with building either side of it) which now takes the street down to the narrow little Rue du Petit Pont. This narrow street runs behind the local hotel and parallel to the beach before opening out into an fountained square which in turn links to the raised waterfront and the beach beyond.

Steps on the far side of this square rise up to another terrace, also with its own fountain.  Backed by local residences, it has clearly been laid claim to by cats, birds and children. Steps on the same side as those leading up to it, but without any gated access, drop back down to provide access to the second of the north-south thoroughfares.

Sainte Rose sur Mer, September 2022

This second route is more informal in nature, being marked not by cobbles but by gravel pools and paths which both sit alongside two further entrances to BarDeco and  also meander northwards past gazebos and trees and over bubbling streams to reach a stone and steel framed greenhouse. Imposing is size and form, this greenhouse carries an air of having once been a proud garden feature, complete with its own clock marking the passage of time; now sits in the midst of a wildling garden, apparently now the house of occasional piano recitals.

Both garden and pond – which has a large deck extending over its southern side from the bank just below the greenhouse – offer a picturesque view over to the gardens of the houses at the northern end of the setting. The latter can actually be reached by means of a little bridge and rock path which skirt around the west side of the water to pass by way of an old gatehouse tower. At the houses, an overgrown alley running between two of them leads visitors back to the cobbled “main” street, thus allowing them to literally circumnavigate the entire setting from landing point back to landing point.

Sainte Rose sur Mer, September 2022

As is the way with Dandy’s build, there is a richness of details to be found here throughout, and there are a lot of nooks and crannies and little side passages and alleys to be exploring I haven’t touched upon in this piece.

Normally, the high level of attention to detail can lead to hits on viewer FPS. While this is still the case in places with this build, thanks to LL’s performance improvements, I found I needed to jiggle with settings a lot less than has often been the case when dropping into Dandy’s builds (although I did have to derender a lot of the mesh rain sheets, as these have always been a bane to my PC).

Sainte Rose sur Mer, September 2022

Picturesque, rich in the use of local sounds and with much to see appreciate and photograph, Sainte Rose sur Mer remains an engaging destination.

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Landscapes and Shadows in Second Life

Michiel Bechir Gallery, September 2022 – Vanessa Jane

Currently on display at the Michiel Bechir Gallery – itself sporting a new frontage, décor and outdoor events area – are three exhibitions by well-established Second Life photographers, which between them offer a set of contrasts that make for an interesting trio of displays.

On the ground level of the gallery, and bracketing the main foyer are exhibits by Vanessa Jane (VanessaJane66) and Raisa Reimse (RaisaReimse). Both are known and highly regarded for their SL landscape photography and capable hands with post-processing, and while both focus on landscape pieces within there respective halls, both have contrasting styles which also compliment one another.

Michiel Bechir Gallery, September 2022 – Vanessa Jane

Within her display, Vanessa Jane offers 15 pieces, many of which offer broad, almost panoramic views of settings within Second Life, re-touched to offer views that contain a degree of romance and / or offer present the richness of the location in a single frame.

Architecture also sits as a focus with several of these pieces, with Vanessa ably demonstrating her ability to bring the character of a building or structure to life, and to wrap a narrative around her images. Capped by three images which are largely black-and-white, this is and engaging selection of art.

Michiel Bechir Gallery, September 2022 – Raisa Reimse

By contrast and across the foyer, Raisa Reimse presents a selection of 14 pieces which carry with them a rich sense of painting in the style of the great landscape artists. In part, this sense is due to both the ratio of the images themselves and their framing – but which is mostly imbued through Raisa’s rich use of colour, which offers a depth to these pieces that is genuinely captivating.

These are pieces that also carry a sense of life and motion whilst also demonstrating that Raisa understands the effective use of depth of field and angle to present a unique image / story. In these latter points I’d particularly point to Dream of Fall, with its suggestion of capturing a diorama, and In Flight, which so richly conveys the motion of the Debonair aircraft and the solitary joy that can be found in flying.

Michiel Bechir Gallery, September 2022 – Raisa Reimse

Within the upper level hall, Scylla Rhiadra brings a selection of her evocative images together under the theme of Shadow.

The use of light and dark and how they play across surfaces and figures has long been a feature of Scylla’s work; more than a feature, really, and they tend to be central to her work and how she presents themes and ideas. This is a point she acknowledges for herself in the poetic introduction to this display:

No mystery compelling as that obscured by dark.
No beauty so heart-rending as that which lies bathed in shade.
No nakedness is more exposed than that which is clothed in garments of night.
No demons so seductive as those concealed by gloom. 
Shadow is the shape of our desire.
Michiel Bechir Gallery, September 2022 – Scylla Rhiadra

Another aspect of Scylla’s work is that of subtext; it is perhaps as important to her compositions as the contrast between light and shadow. This subtext, so often suggested through subtle placement of props as much by pose or focus or angle, gives each piece Scylla produces its fullest depth of expression and narrative. Within this series of images, this is perhaps most clearly seen within Sale, but it is also waiting to be found in each piece by those who take the time to look.

Three richly engaging artists in their own right, in being brought together by Michel within the one gallery, Scylla, Raisa and Vanessa here present a compelling trio of exhibits.

Michiel Bechir Gallery, September 2022 – Scylla Rhiadra

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A visit to Fellowship Falls in Second Life

Fellowship Falls, September 2022 – click any image for full size

I think I’ve sort-of hinted at the fact that I’m something of a Tolkien fan once or twice (at least!) in this blog, and with Lord of the Rings: The Rings of Power now showing on Amazon Prime as a charting of the Second Age of Middle Earth, I thought I’d bounce my way over to Fellowship Falls, a Full region utilising the private region land capacity bonus to present a setting that offers an engaging mix of elements from Tolkien’s novels with some hidden extras.

Designed by Celerdir (Chappers101), the region is described thus within its About Land description:

An Elven & Tolkien-inspired sim where all free folk are welcome. Rez a horse to ride through the forest and over hills and make your way to Rivendell. Also explore The Labyrinth of Light…an underground maze of lights that leads to the Fantasy Forest.
Fellowship Falls, September 2022

The landing point sits tucked right into the south-west corner of the region, where information on the design can be found – and it is worth a read. Not only is Celerdir still relatively new to Second Life, having been active for less than 18 months at the time of writing, Fellowship Falls is also his first region build; and it is more than a creditable design, being very well put together for both Second Life explorers and photographers, regardless of any specific knowledge or interest in matters Tolkien.

From the landing point, the region is set out in a manner to encourage exploration either on foot or horseback. Trails run from the landing point into the setting at large, while those pressed for time might make use of the stone teleport discs to hop to the major locations – although I’d recommend against this, as it risks missing  a lot of the region’s beauty.

Fellowship Falls, September 2022

The north side of the region is given over to Rivendell (aka Imladris aka the Last Homely House, the seat of Elrond half-elven during the Third Age). Whilst surrounded by off-region mountains, it sits atop a rocky table of land separated from the rest of the region by a deep valley.

This might give some Tolkien purists cause to frown, given Tolkien states Rivendell sits within a hidden valley – but this is a region inspired by Tolkien, not representative necessarily of his world as encountered in book and film. As it is Rivendell has a suitably elven feel to it, with a richness of character strongly suggestive of an elven enclave.

Fellowship Falls, September 2022

The trail climbing up through the hills to reach Rivendell passes over a couple of bridges, one of which sits below a hilltop marked by ruins which look to have been built by the hands of men rather than elves. A broad stone causeway, this bridge is guarded at one end by the presence of the Argonath, the Pillars of the Kings. Again, for Tolkien purists, this might seem anachronistic, but here the scaled-down figures of Isildur and Anárion (I’m sticking with the books here, rather than the films) work.

The reason for Rivendell being set so high is provided in the region’s description – the Labyrinth of Night. I’ll leave to you to find the entrance, but will suggest you should take time exploring the tunnels of the labyrinth, as there is more than the forest awaiting discovery, including a further Tolkien echo, this one from The Hobbit, this one a reminder of what lay deep in the halls of Erebor and gave rise to Thorin Oakenshield’s Quest.

Fellowship Falls, September 2022

This is where my one small quibble with the setting lay – not in what is presented, but in the fact that the tunnels of the labyrinth are best experienced with the viewer set to Midnight – but given the layout of this part of the region, it could have been parcelled and set so that the tunnels have their own low-level EEP, making them a little more immersive. But this is a very, very minor quibble.

It is clear that throughout the region considerable love and consideration have been poured into is creation, with many small touches awaiting discovery; there are also many places offering visitors a chance to sit and pass the time. Finished with a local sound scape (one that can be a little interrupted by the surprise in the labyrinth!) and sitting beneath a rich sky (not seen in the images here), Fellowship Falls offers a richness of exploration and photography waiting to be appreciated – so be sure to visit soon!

Fellowship Falls, September 2022

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