A return to Umi in Second Life

Umi, May 2025 – click any image for full size

Update, July 2025: Umi appears to have closed. The SLurl here have therefore been removed.

It’s been a fair while since I’ve written about any of Paradox Ivory’s region designs; the last occasion was following a visit to Cravone City in 2021 (a place which itself appears to have expanded mightily since then). Paradox has also in the past been responsible for a location called Umi, which shared a region with her Tokyo Street Subway Entrance, locations I wrote about in 2019 and 2018 respectively.

Both of the latter vanished into the ether sometime after 2019, and to be honest, at that point I lost track of Paradox’s work. So I was pleasantly surprised when Cube Republic poked me about Umi’s return – this time on a much larger scale.

Umi, May 2025

Once again occupying a Full private region – this time leveraging the Land Capacity bonus – and with an adjoining Homestead (currently under construction, UMI is expanded well beyond its 2018/9 form, offering a lot to see and the promise of more to come, given Paradox is in the process of expanding it into the adjoining region.

Welcome to Umi, where serene rural rhythms blend with vibrant urban energy amid a captivating fusion of Japanese and Korean cultures. Here, each street corner tells a tale, every café beckons you to linger, and every encounter promises a journey to joy. Don’t forget to say hello to Umi’s beloved resident cats, who add their own special charm to this enchanting island experience. Welcome to a world where every purr and whisker brings a new adventure!

– From the Umi About Land description

The Landing Point for Umi sits at its southern end, where the setting meets the sea, the two separated by a stretch of rocky, shingle beach which may not avail itself overly well to sunbathers or swimmers, but is certainly appreciated by the local populace of seagulls.

Umi, May 2025

Taking the form of a ferry quay stretching a makeshift-looking pier (wooden planks and iron grating welding on to sealed oil cans for floatation) out into the bay, the Landing Point gives the impression that one has literally just stepped off the ferry on arriving (an if you listen, you will hear the ferry’s horn away in the distance and it (presumably) chugs off back to the mainland.

Once through the gates of the ferry terminus, visitors have a choice of routes: along the raised causeway road (presumably elevated to keep it clear of high tides!) and thence up into the town proper. For those preferring a wander along the not entirely attractive beach, it is possible to turn east or west and do so, either extremity of the shingle and rock waterfront having a stepped footpath leading up into town as well. Of the two, the walk to the west also offers the opportunity to visit the Seaside Café, which is doing its best to remain happy and sunny, despite the aging drabness of the beach!

Umi, May, 2025

Umi itself is neatly tiered, rising from the waterfront as set of linear elements. The first of these, bracketed at either end by the steps rising from the extremes of the beach, as well as being reached directly from the steps rising from the end of the causeway road, is a walled water channel, complete with narrow footpaths to either side and with little bridges periodically spanning it.

Behind this is a small residential district, complete with a playground and what looks like a nursery school. Another waterway (a storm drain?) separates this area from the uppermost part of the town, pair of contented Buddha-like stone cats guarding the central stairway leading up to it.

Umi, May 2025

This upper area mixes businesses with apartments and residences, footpaths and streets combining to form an engaging little maze to encourage visitors to explore. Within this area one will find the first warnings of on-going construction, but these are easy to avoid without risk of coming to injury. There’s also a traditional shrine awaiting discovery and further little park spaces.

A point of note here is that there are a number of private rental residences within Umi (four easily identifiable within the upper district, numbered as they are, with four more in the middle-level apartment blocks to the east side of the setting); so do be a little wary of trespassing people’s homes. There are also a number of small business premises available for rent in the setting as well.

Umi, May 2025

The overall attention to detail is one of the many things that make Umi so attractive. Paradox has worked hard to give the town a sense of being a living, breathing space. Houses are furnished, window boxes and planters are cultivated; the general clutter of life can be found everywhere; there is a feeling that much of the town has grown organically, rather than being neatly planned, birds sing in the trees and can be found making the most of garden spaces and the like.

Paradox has also made great use of sound surfaces as well: iron gratings cover drains and form the walkways on bridges. When you walk on them, they will ring with the sound of your heels passing over them. There are also plenty of places to sit and pass the time – such as the Café Umi.

And then there are the cats. As much residents here as anyone, they are to be found everywhere, all of them doing typical cat things: stalking, walking, looking cute, sleeping, making it clear whether your attention is wanted or not, and offering the occasional snippet of conversation.

Umi, May 2025

Even with all this said, I’ve still only scratched the surface of Umi’s treasures. To appreciate them in full, I recommend you hop over and pay a visit for yourself! My thanks, again, to Cube for the hat-tip.

Art and pondering humanity’s future in Second Life

SLEA 3: Manoji Yachvili – Lost the Last
I live in the countryside and I love nature and I think I could not live without the thousand shades of green that pass through the seasons, the sound of birds, the buzzing of bees, the bleating of sheep, the neighing of horses … and I see how the world is changing.
Nature will find a way to survive, it’s resilient, and like a thousand other species have, I’m convinced that we’re doomed to extinction, at least as structured as we are now.
So I wonder if there will be and what will be our future as human beings?

With these words, artist Manoji Yachvili (Onceagain) introduces us to a provocative essay-in-art exploring our relationship with our home world; questions of life within the broader solar system (and by extension, our galaxy as a whole); on the genuine threat of climate change, and questions of our survival as a race, and how we might recall Earth, should we survive the ecological destruction we are actively encouraging each and every day.

SLEA 3: Manoji Yachvili – Lost the Last

Entitled Lost the Last, the installation is particularly provocative for me, as it focuses in part on the questions of life on Mars and the potential for humanity to settle thereon. Or perhaps “dangerous” might be a better term; I’ve been both directly and indirectly involved in the questions related to the human exploration of Mars (up to and including working with Mars analogue environments and looking at questions of human factors), all of which could so easily cause me to superimpose my own commentary on certain things rather than focusing on the installation itself (such as dwelling on the bunkum idiocy of a certain CEO of a commercial space venture and his “plan” for “colonising” Mars).

It is possibly this wider focus on Mars, coupled with our on-going efforts to explore it and seek answers to basic questions as to what happened there to both turn it from a warm, wet planet, possibly harbouring basic life, and what happened to that life;, which caused Manoji to focus on it within this installation. As such, there is perhaps a temptation to critique it in light of the references to climate change on the basis that the latter is unlikely to cause Earth to drift into a Mars-like state of potential frozen stasis, but rather push us  increasingly towards the broiling hell we know as Venus.

SLEA 3: Manoji Yachvili – Lost the Last

However, I would venture to suggest such critiques are put aside, as the focus should be on the broader questions asked by the installation, and what any potential colonisation of Mars, coupled with the global failure on the parts of governments and corporations to really work to reverse – or at least slow – the critical overload with are placing on this planet in terms of climate impact and pollution, might mean for this planet.

The installation itself forms two halves. The first – which housed the installation’s Landing Point – presents a barren landscape, seemingly rusted with iron oxides. It carries a very Mars-like feel to it, but it is not Mars. It is a dead (or near-dead) Earth. This is shown by the remnants of a high-rise building to one side of the setting, an old highway information sign and evidence of even old ruins from humanity’s past. The Landing Point sits within a small structure – and I would suggest spending a minute or two examining the contents of this room prior to moving on; they have a lot to say for themselves.

SLEA 3: Manoji Yachvili – Lost the Last

A gallery lies a short walk from the Landing Point, the hazmat figure standing in front of it again suggesting this is in fact Earth, albeit Earth with a clearly noxious atmosphere. Within this gallery lies an exhibition of art carefully crafted to aid in illustrating the idea that we are the architects of Earth’s – and our own – doom. Mixed with the images are 3D pieces by various artists, selected by Manoji, they further underscore the themes of loss and memory.

There are some apparent anachronisms here: The space suited figure apparently cannot survive without their suit and helmet as they explore what is left of Earth, but horses and trees can. However, as we know from Mars, life – admittedly in its more basic forms – is remarkably hardy and able to survive in environments utterly hostile to us. As such, I would suggest the inclusion of horses and trees within some of the images is intended to be a metaphor for this fact: we can more easily relate to life persevering when Nature has turned Her back on us, rather than depictions of more basic life we might not recognise.

SLEA 3: Manoji Yachvili – Lost the Last

On encountering the far wall of this space (walk into it), visitors will be asked to accept a local Experience (if they haven’t in a previous visit). This will teleport them to the second part of the installation: a base on Mars.

Surrounded by a backdrop which put me in mind of the Columbia Hills (not that this is remotely relevant), the base serves as a place where memories of all we have lost are kept alive – at least in miniature: ideas of open homes where we were once free to breathe the air outdoors; places rich in grass where the creatures with which we once shared our home world could wander; a place where water flowed freely, without having to be canned and rationed. It serves as an illustration of what we stand to lose if we persist in making Earth hostile towards us, and all we stand to lose.

SLEA 3: Manoji Yachvili – Lost the Last

Evocative and with much to say, Lost the Last should be seen, explored and considered.

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2025 Raglan Shire Artwalk in Second Life

Raglan Shire Artwalk 2025

Raglan Shire, Second Life’s Tiny community, is once again opening its doors to people from across the grid, as participating artists and visitors are invited to the Raglan Shire Artwalk 2025.

This year, the the event runs from Sunday, May 18th, through until Sunday, June 15th, 2025, inclusive. It  offers an opportunity not just to appreciate a huge range of2D art together with a selection of 3D pieces, but to also tour the Shire regions and enjoy the hospitality of the Raglan Shire community – one of the friendliest and fun-seeking groups in Second Life.

A non-juried exhibition, the Artwalk is open to any artist wishing to enter, and has minimal restrictions on the type of art displayed (one of the most important being all art is in keeping with the Shire’s maturity rating). All of this means that it offers one of the richest mixes of art displayed within a single location in Second Life, with 2D art is displayed along the hedgerows of the Shire’s pathways and tree platforms overhead and 3D art among the community’s parks.

Raglan Shire Artwalk 2025

Over 100 artists are participating in 2025, many for the first time. As such, the depth and range of art on display is guaranteed to keep visitors exploring the paths and walks around and through the hedgerows – and if walking proves a little much, there are always the Shire’s tours to ease the load on the feet, together with the teleport boards to help move visitors swiftly around and through the different display areas. But that said, I do recommend exercising your pedal extremities and doing at least some of your exploration on foot – just keep in mind people do have their homes in the regions as well.

Given the number of artists involved, there isn’t a published list of participants, but anyone interested in the world of SL art is bound to recognise many of the names of the artists here. The Artwalk is also a marvellous way to see art from both our physical and digital worlds and for catching artists both familiar and new to your eye. Just don’t try to see it all at once; the Artwalk is open for a month, which gives plenty of time for browsing and appreciating the art without feeling overloaded.

Raglan Shire Artwalk 2025

SLurl Details

All of the Raglan Shire Artwalk regions are rated General)

A walk around Calland in Second Life

Calland, May 2025 – click any image for full size

While we have never met, Jeannie Schimmer is a woman somewhat after my own heart; someone driven by curiosity and the need to create. It was a drive that started with a single goal which – as I’ve found myself, as doubtless have many others – evolved into something far greater. In this case, an entire public region.

I wanted to learn how to make a proper wharf. After the wharf came a little village, then came the countryside and so much MORE! Feel free to wander around and explore.

-Jeannie Schimmer on creating Calland

Calland, May 2025

Called Calland, the region is a pleasing mix of open spaces, waterside spots, a little village and pleasant walks. It’s is also a place which appears to be going through continuous evolution – again the mark of a creative mind twiddling with ideas and updates.

An example of this comes with the local church; original shots of the setting show the church to be modest, traditional affair with white wood sidings and a tiled roof and steeple. The current church is a far more modern design, its wooden-beamed sides and general form making a strong statement whilst also fitting with the surrounding fir trees and those growing across the hills behind the north of the village.

Calland, May 2025

This village sits just back from the Landing Point – a paved waterfront quay marked by boat moorings, houseboats and a parade of shops. The quayside also give the first indications that there are activities to be enjoyed here: a bubble rezzer sits next to a bicycle rezzer, the pair of them giving visitors the choice of floating or pedalling around the setting if they wish.

The church mentioned above sits to one end of a road paralleling the quay, and which might be considered the village’s main street. It is home to the local garage, movie theatre and more shops sitting with their back to those on the quayside. Facing the church at the far end of this street are parkland offices – the park presumably being the open lands above and to the north of the town.

Calland, May 2025

An old mine tunnels under the hills of the park as a means to to reach the region’ northern side. It is actually one of four routes for doing so. The second takes the form of a boardwalk at the eastern end of the quays, and which passes between the park offices and a large house boat. The remaining two lay a walk westward alongside the quayside from the landing point.

The first of these latter two takes the form of a footpath meandering its way through a formal garden; the second a walk north along the region’s western edge. This passes by way of a deserted bar and a 1950’s style diner, together with a floating pier and a shingle waterfront which runs between the water and a small bungalow (possibly a private home; I’m not actually sure) and a walled garden respectively.

Calland, May 2025

The formal garden, meanwhile, offers places to sit and pass the time, games, including mah-jong within its small auditorium, and dancing. Beyond it, the path continues on to the parklands, sandwiching the bungalow and walled garden (which again offers places to sit and is popular with the local rabbits and birds!) between itself and the west-side coastline.

The northern landscape offers winding paths, horse grazing (and horse riding), an impromptu shindig, a Hobbit hole home(!) and outdoor seating. The east side of the park is particularly hilly and semi-rugged, the paths and trails slithering between the higher peaks, with bridges spanning streams, water falling from the higher slopes, with the local bears keeping their eyes on things.

Calland, May 2025

Two islands complete the setting. The larger, sitting to the north-west, is connected to the rest of the region via two bridges. A large house and grounds take up its space. Again, I’ve no idea if it is intended to be a private residence or not; however, as I did not wish to invade privacy were it to be so, I didn’t dally there.

The second island sits within a bay on the north side of the region. Cut off from the rest of the landscape by water, it is home to the Racoon Creek camp ground. The best way to reach it without flapping your arms and taking to the air is via the zip line that extends down from the hills in the middle of the mainland area to the pier at the entrance to the camp site. For getting back across the water after a visit, try using the local bubble rezzer on the arrival pier.

Calland, May 2025

Tranquil and with considerable details throughout (there is much I’ve intentionally not mentioned here), Calland is a charming place to visit, offering a fair amount to do and a lot to appreciate.

SLurl Details

  • Calland (Calland II, rated Moderate)

A trip to TNC Commons in Second Life

TNC Commons, May 2025 – click any image for full-size

In my previous Exploring Second Life piece, I visited Lavender Springs, a location tucked away on Heterocera, and designed by some of the talents behind Cerulean Sea (see: Relaxing in Lavender Springs in Second Life). At the time I noted that a return visit to the Cerulean regions on my part would be forthcoming. However – and for reasons I’ve yet to determine – my system / viewer decided to be very unhappy when I did earlier in the week, performance-wise, so I’m shelving that for another visit at a later date.

Instead, and to make up for this, I decided to drop back to Lavender Springs and head west along Atoll Road to visit the TNC Commons, a further part of The Nature Collective no too far away. The work of Teagan Cerulean, Emmerson Skye Cerulean (Emm Evergarden), TNC Commons covers just 8048 sq metres, forming a charming and picturesque corner of Second Life, literally packed with information and places to visit.

TNC Commons, May 2025
The Nature Collective welcomes you to TNC Commons, a blend of urban charm, green space, and forest trails. With exhibits, gardens, and open spaces to gather or reflect, TNC Commons invites you to connect with nature and community.

– TNC Commons description

Again sitting just off the Atoll Road (and thus passed by the local tour pods), the Landing Point for the setting sits back from said road, and alongside the TNC Info centre, where you can – if not already familiar with The Nature Collective and the work of Emm and her friends – discover the secrets of the the Nature Collective and its network of locations and associated locations around the grid.

TNC Commons, May 2025

The Info Centre sits to one side of a cobbled street lined on the other side by little rental apartments. This street is cut through along part of its length by tram tracks – and be careful where you stand on arrival, as the tram is indeed running, and can sneak up behind the unwary as it comes to a halt at the Info Centre!

Jumping onto the tram will take you on a trip around the Commons – which includes a rather novel hop by the tram over the footpath running along the front of the apartment houses 🙂 . This journey offers a pleasant loop around the landscape, and is certainly worth the ride – particularly as it does have a number of station stops at points of interest along the way, allowing you to hop off and explore (you can also explore on foot, obviously).

TNC Commons, May 2025

The far end of the street is home to The Dancing Rabbit Café – a special place for many, and if you know why, you know; if you don’t – please take the information pack from the stone rabbit to the right of the steps leading up to the Café. It is a thoroughly charming corner and, due to its meaning, also has its own Landing Point. Passing around the Café via the little canal to one side or the path between the Café and the neighbouring apartment house on the other will bring visitors to the garden spaces to the rear which includes more outdoor seating for the Café and an event space.

One of the local tram stations is just to the other side of the latter, but for those on foot, steps can be found to the upper parts of the setting – charmingly called The Canopy, due to it being shaded by tall oaks, fir trees and one special tree in particular. Spread throughout this area are places to sit and relax, places to meditate, water features offering space for local wildfowl and critters.

TNC Commons, May 2025

Also to be found throughout is – as noted a wealth of information (including some on the aforementioned particular tree). These information boards allow you to obtain the TNC Connect HUD, offering more on The Nature Collective; information on the secret language of trees (the Wood Wide web); links to external nature-related websites and more; together with opportunities for mindfulness.

A further HUD, the TNC Travelogue, can be obtained at the entrance to the setting from the Atoll Road. It provides SLurls to other locations around the grid associated with The Nature Collective. A sign board alongside the HUD giver also provides direct TP links to those locations.

TNC Commons, May 2025

There are some little quirks to the setting which  – to me – add charm. The warning signs for the tram track are placed such that the provide warnings to approaching trams rather than pedestrians, and the track does change gauge to cross a bridge. This is genuinely not to pick holes; in the case of the gauge change, it’s a classic example of making used of different creations to produce a means to add further visual interest to a setting.

In all, a richly engaging visit – as one would expect when it comes to The Nature Collective.

TNC Commons, May 2025

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Landscapes and a warning in Second Life

Kondor Art Square, May 2025: Mareea Farrasco – Landscapes

Landscape photography is an art I greatly admire. Within Second Life it offers a means to capture settings and places which – the nature of the platform being what it is – might otherwise prove transient for a wide variety of reasons. Through the images taken of them, we might revisit places which might otherwise have vanished forever, rather than aging and changing with time and allow us multiple opportunities to revisit and appreciate.

As a demonstration of this, the Kondor Art Square, part of Hermes Kondor’s art hub, is hosting an exhibition of exceptional Second Life landscape art captured by Mareea Farrasco. Comprising 20 images gathered from across Second Life, the collection is called simply Landscapes, with each piece capturing its subject uniquely and beautifully. Each has been carefully and perfectly post-processed to give the impression of having been painted, adding a further sense of depth to their presentation, as well as demonstrating the validly of such editing when performed by an artist who understands the proper use of the tools at her disposal.

Kondor Art Square, May 2025: Mareea Farrasco – Landscapes

These are places which may be recognised by seasoned SL explorers – or, equally, they may not. However, whether or not you happen to recognise any given place is the collection doesn’t actually matter. What is of import is the beauty within each piece.

In this, Mareea’s eye, framing and editing combine to produce pieces which are immediately and richly engaging, drawing one into each of them in turn, offering hints of narrative and suggestions of memory. They speak to the purity of art in its ability to portray and present beauty for its own sake, without necessarily carrying a deeper meaning.

Kondor Art Square, May 2025: Mareea Farrasco – Landscapes

“Landscapes with a message” is very much the theme of the second exhibition I’m covering here: that of Blip Mumfuzz’s Landscapes from a Lost World, currently open at Serena Art Centre.

Blip is another artist whose work I admire immensely, hence why I cover so many of her exhibitions. Like Mareea, she has an innate ability to draw us into the heart of her images, together with an ability to direct our focus and weave stories. Her use of colour, angle and editing is such that her images can have both clarity and at times border on the abstract.

Serena Art Centre, May 2025: Blip Mumfuzz – Landscapes from a Lost World

Blip’s art is often capable of speaking to a wider theme; and such is this case with Landscapes from a Lost World. Set within an environment – the abandoned, fading structures of an old farm – specifically created by Blip in which to display them, and which is thus as much a part of the exhibition as the images, the exhibition actually presents a mix of landscape images and life studies, all focused on a message highly relevant to the physical world in which we currently live.

However, rather than offer my own interpretation of the setting and images, I’ll instead offer Blip’s own description and, like her, leave you to follow the advice on viewer settings and explore the exhibition so that the images, indoors and out, to speak to you within the framing of Blip’s words.

Serena Art Centre, May 2025: Blip Mumfuzz – Landscapes from a Lost World
In the face of the imminent climate-induced collapse of our modern technological civilization, the decrepit farm carries a multiplicity of meanings: societal decay, ways of life forever lost, economic and social collapse, and stands as an indictment of the sociopathic billionaires who are abandoning the rest of humanity and all its magnificent achievements in order to save themselves and to hold onto their power as long as possible.
Looking back from a time 25 years in the future, the images, which are scattered around the “farm”, should be seen as nostalgic dream images of our lost world.  A world that was once, within living memory, alive and vibrant; full of life, culture, love, hopes, and dreams, now being destroyed by the greedy and powerful.

– Blip Mumfuzz

Serena Art Centre, May 2025: Blip Mumfuzz – Landscapes from a Lost World

Two very different, be equally engaging exhibitions open through May 2025, and I recommend both to your eyes and thoughts.

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