A walk through Loulou Forest in Second Life

Loulou Forest, May 2026 – click any image for full size

I was drawn to explore Loulou Forest after coming across it in the Destination Guide as it has been designed and executed by Elyjia Baxton, working in concert with the region holder, 7 (Seven Kaptane). Elyjia – or Ely as she likes to be called – is responsible for some of the most natural landscapes and setting found in Second Life, and I’ve has the pleasure of visiting and blogging about many of them since 2017.

Occupying a Full private region, Loulou Forest is part of a 4-region estate held by 7. Of the remaining three, two – Annabel and Eden Roc – provide rentals homes with decently-sized parcels and a mix of over-the-water and rural settings.

Loulou Forest, May 2026

The remaining region is home to Loulou, a region-sized venue established by 7 in 2025. With indoor and outdoor settings, the club is open on Wednesdays and Fridays through Sundays, all between 12:00 noon and 15:00 SLT, and again between 18:00 and 21:00 SLT.

Sitting on a region called – appropriately – Ely, Loulou Forest makes use of the majority of the region’s landmass, allowing for the off-shire areas around the coasts. The Landing Point sits a short distance from the region boundary linking the forest to the club region to the west, and Directory sign board offer direct teleports to the club, or across to the edge of the Annabel residential region, or the estate’s rental office for those interested in perhaps making either Annabel or Eden Roc their home for a time.

Loulou Forest, May 2026
Loulou Forest is a place where nature invites you to explore. Every corner is designed to offer a moment of calm—a place to recharge and reconnect with what truly matters. A peaceful getaway in the heart of the Loulou universe.

– Loulou Forest About Land description

Dusty tracks provide the primary routes for exploring the forest, winding their way between the trees, passing across bridges, past bodies of water and low waterfalls and to where public buildings await to offer places of rest and refreshment.

Loulou Forest, May 2025

However, it should be pointed out that whilst Annabel and Eden Roc are the primary rental regions in this estate, there are a number of private residences located along the southern, eastern and northern extents of the forest – so do take care to avoid trespassing into someone’s privacy.

The tracks are wide enough for vehicles, and indeed a couple are to be found on the verges. However, I would suggest a better source of transport – if you have one available – is a wearable horse (or a rezzable one, if you join the local group and obtain rezzing rights). The trails are ideal for riding, and while I did look around for local horse rezzers, I didn’t notice any.

Loulou Forest, May 2026

Given this is a design from Ely, the region is packed with natural detail. Birds reel overhead, geese swim on the inlands waters; there are places to sit and pass the time, be they under the shade of a gazebo or sitting at the roadside or take the form of boats on the waters.

Elsewhere, Bees buzz, horses frolic, young foxes scamper and local cats put their paws of ownership on all they survey (naturally) – including the one hoping to put its paws on a bird, despite the latter’s attitude suggesting it is aware of the plan and will take flight before the cat can do it any harm.

Loulou Forest, May 2026

This is a place where exploring can be as quick or as gently as you like, and where opportunities to take photographs and / or pose for selfies abound. The natural beauty of the setting encourages gentle exploration and invites visitors to sit and pass the time here; something also encouraged by the fact that the private residences are spread such that they don’t lead to a feeling one is about to trespass at every turn.

Travel far enough in your explorations, and you will likely encounter the boundary with Annabel. Like the boundary with Loulou, this is clearly denoted if you are following the main tracks around the forest. Casual visits to Annabel are not discouraged – but (again) do keep in mind it is primarily a rental / residential setting, and so opportunities for exploration are limited more to the unpaved roadways as they run through the region to provide access to the private homes.

Loulou Forest, May 2026

Rounded-out by a subtle soundscape and richly picturesque, Loulou Forest makes for a rewarding visit for the Second Life explorer / photographer, and sits as a further tour de force of Ely’s ability to design and build spaces in SL which have a natural sense of presence to them.

Loulou Forest, May 2026

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Cica Ghost’s Robots and Spiders in Second Life

Cica Ghost, May 2026 – Robots and Spiders

I am, it has to be said, something of an arachnophobe. Small, little, or tiny spiders – they’re perfectly fine. Larger varieties – Well, keep them away from me. Put a really large spider in front of me – say a tarantula / bird-eating spider, or even the UK’s cardinal, tube-web or nursery-web spider – and I can guarantee I’ll be one of the first out of the door and moving at a reasonably fast pace.

I mention this because for May 2026, Cica Ghost brings us the curious combination of Robots and Spiders. But fortunately for those of us with any degree of fear when it comes to spiders, those present in Cica’s work are disarmingly friendly-looking and not at all what you might otherwise imagine.

Cica Ghost, May 2026 – Robots and Spiders

These are spiders which appear to live on a world very different from our own; one they share with a bunch of seemingly happy-go-lucky robots. In fact, like the robots, they appear to be artificial in nature, made of metal parts – bulbs, tubes, poles, etc., suggesting they have specific purposes, although their eyes remain very human and expressive.

Rather than hunting prey or weaving webs, these spiders appear content to live within the metal town they share with the robots and a handful of metallic gusenica (caterpillars). The latter are certainly a happy-smiley lot, and not in the least afraid of the spiders, even if the latter on our world often see caterpillars as prey.

Cica Ghost, May 2026 – Robots and Spiders

The robots, meanwhile, are by far the most anthropomorphic-looking (unsurprisingly)of the locals. Admittedly, some do lack arms and others look like they have old Mac computer cases or arcade game consoles for bodies (something which raises a possibly interesting question about their lineage!). However, they also appear to be a welcoming, happy bunch, ready to wave a greeting rather than snap at you with the claws that might occupy the ends of the arms they might have.

As noted, all of these creations live in a metal town in which some of the houses look like they might have once served as the heads of very big robots: hemispherical units with two eye-like windows to the side one on either side which may have once housed hearing units, and a large opening cut into the remaining side to form a doorway. Other parts of the town look like they are components of some large electrical or industrial installation or to have been made from metal boxes, and a couple of places look more akin to cabins or similar found here on Earth, making for an eclectic mix.

Cica Ghost, May 2026 – Robots and Spiders

Rounded out by an appropriate quote from Dr. Seuss, Robots and Spiders is an unusual and light-hearted artistic fantasy.

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Leloo’s Mainland world in Second Life

Leloo’s World Mainland, May 2026 – click any image for full size

It’s been a while since I’ve visited one of LeLooUlf’s Second Life settings, so was intrigued to learn that at some time between my last visit to her half-region setting (back at the end of 2023) and now, she had established a new setting on the mainland continent of Heterocera LeLoo’s World Mainland.  However, in catching it via the Destination Guide, I decided I had to hop over and take a look.

LeLoo’s settings have always been themed affairs, mostly changing with the seasons, and this also the case with LeLoo’s World Mainland; the themes sat the time of my visit being those of outdoor theatre and gentle relaxation in a summertime setting.

Leloo’s World Mainland, May 2026

This setting is a little deceptive when first arriving, seemingly quite small and self-contained garden with a roughly north-south orientation, the outdoor theatre mentioned above sitting at the southern end of the garden.

However, the location in fact straddles two regions, the gardens being in one, and a lake and gardens sitting below it in the neighbouring region. Signs close to the Landing Point indicate both and provide basic directions to help new arrivals to chose which way they want to go.

Leloo’s World Mainland, May 2026

As one would expect, the garden is packed with detail, presenting a place to wander and relax within.  Immediately adjacent to the Landing Point is a glass-roofed cabin or shack offering something of a writer’s retreat, whilst the main paths are marked by hewn slices of a tree trunk forming “stepping stones” over the grass.

Of these paths, one runs back to one of two  roadside entrances to the garden, the second points the way to the path down to the lake and the third towards the theatre. As it does so, the latter runs past steps leading up to a trailer-mounted greenhouse forming another little retreat, whilst just off the path leading to the roadside there is a charming little setting for artists, complete with easel-mounted paintings and an arbour to sit within if on your own, or cushions on which to stretch out either on your own or with a friend.

Leloo’s World Mainland, May 2026

The theatre carries the interesting name of the Grassy Knoll Theatre. This is not any form of historical reference, but is simply due to the fact the theatre sits on a grassy knoll, sharing the space with a semi-circle of assorted seating for the audience. A smaller knoll sits close by, crowned by umbrella trees which a group of little costumed devils have chosen as their playground – presumably their squeals and shouts of excitement don’t interrupt performances!

Bounded by brick walls to either side, and passing through a narrow neck of stubby plateaus before gently opening itself open to the waters of the region beyond, the lake at LeLoo’s World Mainland is something of a secluded setting without actually feeling closed-in.

Leloo’s World Mainland, May 2026

Located in the neighbouring region of Laothoe, the lake is is reached via a switchback path and steps running down from the gardens, and it is an absolute charm. Koi swim along its length; a bridge suspended by balloons spans the narrow gap between the two little plateaus; dolphins and orcas frolic in the outer waters; floats and boats offer places to sit on the water and shaded chairs and benches offer drier setting on the land.

Swans patrol the outer extent of the lake as it joins with the region’s waters, and they are in turn watched by troop of cast frogs having a little fun on the rocks. Rich in plant growth and easy to wander, the lake and its banks make a worthwhile visit in its own right as much as a part of a visit to the setting as a whole.

Leloo’s World Mainland, May 2026

One of the things I’ve always enjoyed with LeLoo’s settings is her attention to detail and the inclusion of touches that both add a further sense of place to a setting whilst also offering opportunities for photography and / or giving slight twist to things.

Take, for example, the little water trough and its three water spouts located alongside the path leading down to the lake. Overgrown with flowers, it can be so easily missed; however, its presence and state give the gardens life in the suggestion that things here need constant tending – as does any garden – and that if things are left unchecked, such as the free growth of flowers, then things can in places get out of hand.

Leloo’s World Mainland, May 2026

Similarly, up in the garden, the smattering of Curious Shrooms, with their waving “heads” and willingness to jump and down give the setting a little twist of fantasy – as does the giant snail keeping an eye on the theatre.

All of which can be taken to mean that LeLoo’s World Mainland makes for a delight visit.

Leloo’s World Mainland, May 2026

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Of Inventory, art and the artist in Second Life

Nitroglobus Roof Gallery, May 2026: Manoji Yachvili/Nomore – Inventory

I’ve covered the art of Manoji Yachvili (formerly Onceagain, now Nomore) on numerous occasions in this blog, as I have with many of the exhibitions at her formerly public Onceagain gallery. So I was a little surprised to hear (through the grapevine, at least) that she had taken the decision to withdraw somewhat from the SL art world, disbanding her Onceagain art group and stating she would not be exhibiting her art in-world any more.

Of course, we all reach points in our lives when we feel either a need for a radical change in our lives or work (or both), or that what we’ve been doing for so long is less the centre of our personal or creative expression, and we need to take a step back. However, we’re also free to have changes of heart within those decisions to a greater or lesser degree. So it is that Manoji/Nomore has taken up the challenge to present one more exhibition of her work, hosted by Dido Haas in the main halls of her Nitroglobus Roof Gallery.

Nitroglobus Roof Gallery, May 2026: Manoji Yachvili/Nomore – Inventory

Entitled Inventory (with the sub-title of What is Hidden Inside an Inventory), this is both something of a personal exhibition of pieces that many otherwise never have seen the light of day beyond Manoji’s eyes, and an exploration of art and the identity of the artist. It might also, to so degree, be seen as asking questions that are not only relevant to an artist, but to all of us in the modern world.

Not only finished works, but images, studies, tests, attempts, detours, forgetings. An accumulation that precedes the final form and often remains invisible. The inventory is the place where thought exceeds production, and production exceeds what is shown.
An artist thinks more than they create, and creates more than they exhibit. Of what emerges into the light, only a selected portion remains, filtered by time, context, and the gaze of others. But does what is not shown truly cease to exist?
Is it necessary for everything to be visible in order to be legitimized? The very meaning of the word “artist” lies within this tension.

– From the artist’s notes accompanying of Inventory

Nitroglobus Roof Gallery, May 2026: Manoji Yachvili/Nomore – Inventory

Thus, framed around the walls of Nitroglobus we have images and pieces, some perhaps near completion, others only partially complete or abandoned experiments, all drawing on different themes yet drawn together through Manoji’s familiar use of colour. Recovered from deep within the artist’s inventory, they present insights into the range of Manoji’s art and her willingness to experiment with forms, colour and presentation.

As pieces long hidden inventory, these pieces are used to frame an initial set of questions of their existence and “legitimacy” – just because they have been buried within inventory and thus unseen, does this make them less art than those pieces which did escape inventory’s confines and openly displayed? If they remain hidden and archived, and never seen by others, does this mean they never really existed? How do questions like this reflect on the artist behind the art? That so much remained hidden somehow lessen their own status, or does the fact they are prepared to judge their own work and/or pushing it to one side enhance their artistic reputation/ability?

Nitroglobus Roof Gallery, May 2026: Manoji Yachvili/Nomore – Inventory

Beyond this, the exhibition also seems to offer a broader subtext for artists and the rest of us to consider. This can be particularly seen within the wall of Polaroid-like shots with their hashtag elements as they both encourage us to remember who we are and question things from the role of the artist through to the devil of the moment – the use of AI (which somewhat circles back to the questions of archiving raised in the artist’s notes accompanying the exhibition: yes, art might be preserved (or accidentally lost) through digital archiving, but it might also be put at risk of corruption by the devouring need of AI and its image harvesters).

Richly engaging visually, whether or not one delves into the artist’s own notes or attempts to identify potential subtexts and meanings, Inventory is a captivating exhibition – and I hope it is not forever Manoji’s last.

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Astoria’s Zen-on-water in Second Life

Astoria, May 2026 – click any image for full size

I first visited Astoria, a Homestead region held by Eromara Vita and Dots (Dotties Stoop), in December 2024 (see: Astoria’s wintertime in Second Life), and had intended to make a return view a lot sooner. However, things have been what they were, so to speak, and so May 2026 marks my first opportunity to make good on that hope of a revisit; and it turns out that being able to do so now is rather serendipitous for me, as the region had, for spring 2026, been redressed as a most pleasant Zen environment – oriental themes for region designs being a favourite for me.

Step into a sanctuary of stillness, where nature and serenity meet. Whether you seek meditation, a yoga session, or a moment of silence away from the noise of daily life, this tranquil space offers the perfect escape. Come as you are. Leave renewed.

– Astoria’a About Land description

Astoria, May 2026

In this iteration, the region stands as a series of six small islands, each of which features Alex Bader’s excellent Zen Garden building kit (a personal favourite of mine) as the foundation for their overall look. Arranged in a rough circle, the islands are in turn surrounded by an off-region range of rugged, forested hills which enfold them in a gentle hold, cutting them off from the rest of the world somewhat and adding to their sense of tranquillity.

Separated by deep, clear waters, five of the six islands are connected one to another by a mix of bridges and stepping stones, allowing visitors to move between them without getting wet. However, the sixth is somewhat separated from the others in that no stepping stones or bridge runs across to it.

Astoria, May 2026

This separation appears to be by intent rather than any oversight in providing either a bridge or stepping stones, as it stands as a venue for music events (the next being May 15th and featuring Bsukmet – click the information board on the island for a direct Landmark). Given this use, the island is also a little different in appearance to the others, being formed as a stage, with a dancefloor of stones floating before it on the water for dancing.

The Landing Point for the region is located on the tallest of the six islands. This is topped by a small teahouse offering views out over the other islands. A short gravel path with seating links the teahouse with steps leading down to the water’s edge. Here, stepping stone branch out from the island to provide the means to get to two more of the islands.

Astoria, May 2026

One of these island is home to a shrine which has suffered some external damage. However, Buddha still sits serenely inside while a statue of Bishamonten (a Japanese form of the Indian god Vaisravana) outside, keeping his proper place and guarding Buddha. A short bridge connects the shine island with a small, flat island topped by a gravel circle with a place to sit and a bamboo fountain.

Buddha is also to be found on the other island which can be reached via the stepping stones from the Landing Point. Here, he resides outdoors in the lee of a tall rock. A pillow is placed before him for those wishing to meditate with him, while a yoga mat on the other side of the rock offers the opportunity for exercise. The entire island takes the form of a small Zen garden looped by gravel paths with water features and places to sit.

Astoria, May 2026

A long span of a bridge allows the Zen garden walk to continue on the last of the larger island in the group. This is again low-lying and offers places to sit and contemplate, the peace only broken by the slow clunk of another bamboo fountain as its arm fills with water before dropping to deposit the water into another little stream.

As well as the islands and their walks, the waters here also present points of interest for photographers: lanterns float on the water under a bridge and among lilies; a small dragon fountain sits on a rock rising from the waters, whilst a large water dragon appears to be keeping an eye on the Landing Point and teahouse. The gardens also have lots of little touches to bring them to life without every breaking from their sense of serenity.

Astoria, May 2026

In all, another engaging and pleasant design from Dots and Ero.

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A reacquaintance with Missing Melody in Second Life

Missing Melody, May 2026 – click any image for full size

It’s been nigh-on three years since I last dropped into Missing Melody, the always eye-catching Full region held by Bambi (NorahBrent), with its regularly changing settings. As such, I felt it was high time for I reacquainted myself with the region to see what Spring and Summer 2026 have brought forth.

What is a Missing Melody? It’s that song in your head that you can’t get out but not sure how it really goes. It’s that temptation you want to have in your life so you can fight to resist. It’s that place in your heart that is always waiting.

– Missing Melody About Land / Destination Guide description

Missing Melody, May 2026

For this iteration, the region presents a small island lying to its eastern side and with an east-west orientation. In fact, such was the body of water within the region’s boundaries, I did wonder if Bambi had taken a dive underwater to present an aquatic garden or similar. But this is not the case; the island is presented on its own as a place ideal for photography and scene-setting.

On arrival, the Landing Point one is surrounded by the sound of bees going about their business among the flowers growing tall on either side of the footpath running through the Landing Point. Following the orientation of the island, this path is also lined on one side by a line of powerline poles, although these now seem to serve as a means of draping hanging plants along the side of the path to add a further touch of overhead colour.

Missing Melody, May 2026

The eastern end of the path provides access to a small teahouse formed from a converted greenhouse. Noticeboards at the gateway provide information on The Nature Collective and an opportunity to join the local Missing Melody group for rezzing rights which can be used for photography props. The teahouse itself is a cosy little setting, a small semi-wild garden growing outside and plenty of little treats to be found inside.

The teahouse and Landing Point lie on something of a grassy, shoulder on a hill which continues to rise to the south. Heavily wooded, the hill, together with the trees on the north side of the path, serves to give a sense of seclusion to the treehouse.

Missing Melody, May 2026

The ground on three sides of these uplands drops away sharply to the waters below. However, at the western end of the path, the land slopes away more gently, dropping down past white dry stone walls to where Sakura tress mark the path down to a coastal stretch of lowlands rich in flowers and where someone has established a little artistic retreat.

Close by this little retreat stands a small cabin on the edge of a little southern inlet.  It has the look and feel of a single-room accommodation – perhaps where the artist rests when not painting, and a couple of small rowing boats (one in somewhat better condition than the other!) sit on the waters of the little inlet, watched over by the local deer.

Missing Melody, May 2026

Overall, this is a very modest design when compared to past iterations of Missing Melody – but that is not to say it is without merit. It is as picturesque as past designs, and finished in a rich soundscape that is not overbearing. As noted, opportunities for photography await discovery and the tea house and cabin offer quiet retreats for those looking for somewhere to simply pass the time.

As always, Missing Melody makes for a gentle, unhurried and pleasing visit.

Missing Melody, May 2026

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