An oriental Les Reves Perdus in Second Life

Les Reves Perdus; Inara Pey, January 2018, on Flickr Les Reves Perdus – click on any image for full size

Miro Collas drew my attention to Les Reves Perdus (“Dreams Lost”). It’s a place we’ve enjoyed visiting in the past and which I’ve previously written about here and here, so we were more that happy to make a return visit. Designed by Cathy (zaziaa), she relocated to a new Homestead region in November 2017, and with the move offers a design with a distinctly oriental flavour that also encompasses a nice use of water.

Visitors arrive before a memorial gate, lit by floating lanterns. A trail of firefly-like lights float just above the water, leading the way to the largest of three islands in the region, which rise from the water on sheer cliffs to form a table-like top. Water tumbles from a series of falls on the west side of the island, alongside a set of stone steps rising from the water to provide a way to the top.

Les Reves Perdus; Inara Pey, January 2018, on Flickr Les Reves Perdus

A small temple sits on the island, a formal walled garden beyond it, reach by a couple of bridges that span two small channels cutting into the rock. While the garden and temple have a distinct Japanese look to them, there is bamboo growing alongside the wall of the garden which has attracted an embarrassment of pandas, giving the setting a Chinese flavour. More waterfalls tumble from the north side of the island, while around the cliffs can be found rock carvings, a Buddha and floating candles, all of which add subtle touches to the setting.

To the south-east of this large island is a second. Again flat-topped and with sheer cliffs, it is home a large Japanese-style house, sitting over a body of water which doesn’t quite feed the falls tumbling from the rocks – at least, not on the surface. The steps leading up to the house also link it with an avenue of trees running to the beach at the base of the region’s third island. Follow this and you’ll find an ancient pier pointing out to sea, facing a path winding up the side of the island’s cliffs, with the entrance to a cavern at its base.

Les Reves Perdus; Inara Pey, January 2018, on Flickr Les Reves Perdus

All of this just scratches the surface of the region’s beauty. Near to the arrival gate is pavilion where Chinese drums and Zheng can be played, all under the watchful eyes of a dragon. Candles float over the water alongside the pavilion, while plants hug the waters at the base of the islands. as well as the drums and Zheng, the pavilion offers the opportunity to enjoy Tai Chi, while the house on the “middle” of the three islands offers a place to relax and simply enjoy the setting. There are a couple of adult elements in the caverns under one of the islands – but there are not anything that should give offence.

One of the delights in visiting Les Reves Perdus is that each iteration is entirely difference to the previous, making every visit after a redesign both a pleasure and an opportunity for discovery. This latest build is no exception; it is wonderfully tranquil, with a subtle sound scape and, for those so minds, a reflective audio stream courtesy of  Chouchou.

Les Reves Perdus; Inara Pey, January 2018, on Flickr Les Reves Perdus

As someone who delights in oriental themes and a considered use of water in a region build, I  admit to thoroughly enjoying reacquainting myself with Les Reves Perdux in its new home, as did Caitlyn. We both look forward to future visits.

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MOSP returns to Second Life

MOSP 2018

Chic Aeon has re-opened her Machinima Open Studio Project (MOSP) for machinima makers and photographers. First seen in 2012, MOSP has been through a number of iterations – as my past posts on the project will hopefully show. Offering indoor and outdoor film sets, studio facilities for filming shows and the like.

In this latest iteration, which is still under development, MOSP opened its doors in mid-January, offering – as a start – a ground-level location, based on her installation A Steamy Mystery at Terradale, with some additional element, and a city setting up in the sky, someone reminiscent of the original city setting from MOSP’s original iteration.

MOSP 2018

It is at this latter location that people first arrive. This offers outdoor night setting with a parking lot, façades for tower blocks, backed by surrounding backdrops of city high-rises seen against a misty night sky; so using the local windlight or setting your viewer to a cloud night setting is recommended for a visit, although with careful filming, daylight settings should work on the space as well.

The landing point faces a resource centre, which includes teleports to other set locations (again, only the ground level being open at the time of my visit although others provide hints as to what is coming). not far from this is a series of small stage sets, one of which is outfitted as a photography studio with backgrounds and green screen as well as pose balls. There is also a classroom / meeting area. Further afield, but still within the surrounding high-rises are further lots, apparently awaiting building-out. With cars parked around the lot, the building shells and the entrance to a subway station, the setting offers a fairly simple location for filming, which I assume will be added to over time.

MOSP 2018 

“This all new build offers full sim-sized environments for ease of shooting and continuity,” Chic says of the facility. “There is flow. There are surprises and plenty of details. Builds have been optimized for LOD2 to ease the drain on computer systems and let those with mid-level machines still turn on shadows or depth of field when needed.”

For those needing an outdoor small-town style of location for filming, the ground level “Terradale” set might fit the bill. “Obvious steampunk references have disappeared,” Chic states, “and many new buildings have been added. Structures are clustered for better filming and photography and ‘clutter’ has been added to private areas for a more realistic feel.” There is also an information centre inside one of the buildings, again offering teleports between the different stage / set levels.

MOSP 2018

Chic also notes, “While the infrastructure and many of the furnishings and props have been made by myself, the work of other content creators is also featured. Artist buildings are noted with name plaques; gacha collections with buildings have markers. If in doubt, right-click and inspect to note who to thank for bringing this sim to life.”

In previous designs, MOSP gradually developed a wide range of film sets and opportunities, from rural to city through outdoor settings to sci-fi, so it will be interesting to see how this iteration is developed and what additional resources are provided. In the meantime, the current facilities are open for people to use, and specific enquiries or questions should be directed to Chic Aeon.

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Flying Coyote River in Second Life

Flying Coyote River; Inara Pey, January 2018, on Flickr Flying Coyote River – click on any image for full size

Miro Collas passed on a suggestion we pay a visit to Flying Coyote River, a Full region designed by Lila Rose (Masha Eilde) and open to people with Payment Information On File (PIOF). It’s a strangely eclectic wilderness region with plenty to see, and which can be very photogenic under a wide variety of windlight settings.

The landing point sits in the middle of the region on a small island, the rest of the land divided into four, each part ruggedly terraformed using a mix of the natural terrain and mesh elements. Precisely where you go from the landing point is entirely a matter of personal choice. Before doing so, and if you want to get a feel for the immediate surroundings, there’s a small watchtower offering a vantage point for a look around (you might also want to see what is under the little hillock of the island).

Flying Coyote River; Inara Pey, January 2018, on Flickr Flying Coyote River

However, whichever route you choose, you’ll be setting off on a voyage of discovery, because there is an awful lot to be found right across the region. So much so, in fact, that attempting to describe everything here would lead to a long article and spoil the fun. However, were I to be asked to define a possible single-word theme for the region, then it might be in “community”.

Not that there is an actual community of users here per se, but rather that the region has been designed to give a feeling that it has been established by a group of people; although quite why they’ve done so here in the wilds surrounded by mountains, is a story perhaps best left to individual imaginations. It’s also the kind of place that looks ripe for casual role-play for like minds paying in a visit – and that’s something that visitors are invited to try, as noted in the About Land description.

Flying Coyote River; Inara Pey, January 2018, on Flickr Flying Coyote River

Buildings here come in all forms: houses, tree houses, converted rail cars, cottages, lighthouses, towers – even caves and hollows. All are scattered across the landscape, atop hills, improbably perched on cliffs, nestled along the coast or sitting in the branches of trees. Linking them one to the next is a series of trails, paths, bridges, ladders, tunnels and stairways, some of which are quite imaginatively placed, with others offering more than one way to reach a destination.

The best way of exploring the region is not to flycam / cam ahead – at least not to start with. It is far more fun to follow the paths and climb the hills to see what lies beyond the next ridge or hilltop then it is to constantly cam ahead. This way, you really get the feeling of being out in the wilds; and such is the design of the region, it can quickly start to feel as if is it far larger than its 256 metres on a side. Just as you feel you must have seen everything, there is something the pops into view or is at least hinted at just over the next rise – and so you’re drawn onwards.

Flying Coyote River; Inara Pey, January 2018, on Flickr Flying Coyote River

In this way, places like the garden with its wrecks of cars and bursts of flowery colour amidst the greenery of hills and trees raises a smile far more than when simply camming to it, while it hint of what might be a cavern or tunnel entices you further around the base of a hill or over a bridge and up a gravel path.  Gentle exploration also brings out the very mixed aspects of the region’s design, which brings together something of a post-apocalyptic flavour with twists of fantasy, all stirred into the feeling of being in the great outdoors – including a rope slide for the adventurous.

It is true that elements of the design are a little rough here and there – platform legs not quite reaching the ground, footings of bridges and buildings perhaps not as firmly placed into ledges and cliffs as they might be. But really, this doesn’t matter: Flying Coyote River offers so much to see, the attractions more than outweigh the niggles. There are also plenty of places to sit and rest, or look out over the landscape, from both indoors and from outside, again making a visit more than worthwhile.

Flying Coyote River; Inara Pey, January 2018, on Flickr Flying Coyote River

Again, when visiting the region, please remember access is restricted to those with PIOF, and note also that scripts are disabled if you re-log directly to the region. Our thanks again to Milo for suggesting we take a look.

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Neverfar in Second Life

Neverfar; Inara Pey, January 2018, on FlickrNeverfar – click on any image for full size

“A little piece of my heart and soul I created for this world to enjoy some quiet time and create moments,” inertia (Caridee Sparta) says of her Homestead region of Neverfar, which I came across recently while poking my nose into the Destination Guide. It is an atmospheric and eclectic place to visit, offering  a good amount to see and discover.

A good part of the region is formed by a rugged island rising from calm waters, its top stony and hard, a place where shrubs and old trees with deep roots claw for purchase. A small village sits on its hard back, a place with a strong oriental theme among its buildings – something which is always bound to attract me. While mixed in nature, with something of a lean towards Japanese influences, I found this little village put me in mind of secluded places along the south coast of China, huddling away from that country’s rapid urbanisation, or perhaps located on the Indochinese peninsula – although it might just as easily be somewhere on one of the islands of Japan.

Neverfar; Inara Pey, January 2018, on FlickrNeverfar

Surrounded by tall, evergreen mountains, and gathered around a little bay where two long fishing boats rest in the mist hugging the shoreline, the village is a mix of tall, cement-sided buildings and wooden huts and shacks, most of them with corrugated tin roofs. It has the feel of being a place of work, rather than being for vacation, so the tall face of the optimistically named Regent Hotel seems a little odd, while the neon lights illuminating a side street attempting to entice people to come and sample the local food, have an air of pathos about them, particularly considering a couple sit above shuttered entrances.

Wooden walkways offer routes around the buildings, wood being more practical given both the unforgiving rock from which the village rises and the way it extends out over the water. For example, to the north-east a small café sits on a wooden platform above the waves and reached via a narrow walkway. A second platform close by offering a place to sit warmed by an electric fire and with incense burning in a bowl in greeting while a cat enjoys the fire’s warmth.

Neverfar; Inara Pey, January 2018, on FlickrNeverfar

Behind the clustered buildings of this village are more board walks, raised over the rocks on wooden piles and reached by short stairways. They offer a view across the waters to the south, to where a smaller island sits, marked by a somewhat decrepit wooden tower at one end, and a Japanese-style house at the other. A rickety pier – or the remnants of an old bridge? – point towards this smaller island, but the only way to reach it appears to be to take to the air and join the gulls circling back and forth over the intervening water.

To the north-west is a further rocky islet, this one the location of a private residence, which is in use – so please respect privacy and avoid the temptation of trying to hop over. Facing this, on the main island, is a small music stage with a pier below it. Stage and pier are reached by crossing the rugged land to the west of the village, beyond the bicycle stands, and passing by way of an old, broken railway car now converted into something of an unusual piano lounge. Be sure to keep an eye out  for some of Cica Ghost’s animated stick figures along the path!

Neverfar; Inara Pey, January 2018, on FlickrNeverfar

Rugged and with a touch of haunting beauty under an evening’s sky, Neverfar is a welcoming place to visit. There is much to see and plenty of places scattered throughout where visitors can sit and rest.. Those wishing to have rezzing rights for photography can join the region’s group (L$499) – please do remember to pick up your bits if you do. There’s also a Flickr group for those wishing to submit their photos. Note that I do offer an alternate SLurl to that provided in the DG, as the latter (at the times of our visits at least) lands visitors atop a non-phantom tree alongside one of the broad walks.

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A Lady and 26 Tines in Second Life

Bryn Oh: Lady Carmagnolle

Bryn Oh is currently working on a new immersive installation to succeed Hand, which closed in late 2017, and about which you can read more here. While the new installation is under development, she has opened two single-scene poems, Lady Carmagnolle and 26 Tines, both of which can be found on Bryn’s home region of Immersiva.

“A carmagnolle is one of the very earliest full metal diving suits,” Bryn says in explaining the first of these scene poems. “Monstrosities of protection that allowed people to explore the depths.” In fact, it was the first properly anthropomorphic design for an atmospheric diving suit (ADS), designed in 1882 by the Carmagnolle brothers. It features a distinctive metal helmet with multiple small glass ports to provide a view outside for the wearer.

Bryn Oh: Lady Carmagnolle

In Lady Carmagnolle, the titular lady of the piece stands alone on a deserted stage in a broken-down theatre, the helmet of the carmagnolle suit in one hand, a rock in the other, a face drawn upon it. “She imagines the rocks to be injured birds who she cares for,” Bryn states, “When it rains the ink washes away leaving a simple stone. When Lady Carmagnolle looks to find these rocks and instead finds them gone, she wistfully imagines that they have grown back their wings and returned to the sky, finding others to fly with. In her loneliness this is her most beautiful dream.”

It’s a sad tale, accompanied by a sad poem and sent within the haunting setting of the tumble-down theatre, where the rain falls as Lady Carmagnolle’s only audience.

Bryn Oh: 26 Tines

26 Tines, on the other hand, is something of a love story, again accompanied by a poem. “The laboratory is silent, the scientists gone, we have seven hours, before the dawn,” so reads the first stanza of the poem. It directly refers to the emotional bond between two robots within a research facility, a bond where  – even were they both human – words would be inadequate to express their feelings.

So instead, when the working day has come to an end, and the humans have left this secretive, underground bunker of a laboratory, the maintenance robot pauses in its tasks of cleaning up. Instead, it sits down with its tiny kindred, and the two connect via cable. In this way, they bypass clumsy language and exchange their feelings and emotions directly one to another via the 26 tines of wire contained within the cable connecting them.

Bryn Oh: 26 Tines

Thus it is, the two robots pass the time until morning comes and the daily routine intrudes, scientists returning to their lair to resume their work. Separated, the robots are left with the intimate memories of dancing together through the nights, the sublime delight of sharing their time, their feelings, so intimately for seven short hours each day – and the knowledge that in the night to come, they can be together once more.

Like Lady Carmagnolle, Bryn’s 26 Tines is haunting in theme, but with a slightly dark, science fiction turn.  Both are easy to visit, but offer layered meaning and a richness of pathos, loneliness and devotion.

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The natural beauty of Oh Deer in Second Life

Oh Deer; Inara Pey, January 2018, on Flickr Oh Deer – click on any image for full size

Update, January 25th: Oh Deer has sadly closed, and Bambi is apparently taking a leave of absence from Second Life.

We made an early return visit to Oh Deer, the Homestead region designed Bambi (NorahBrent), after receiving news from both Miro Collas and Shakespeare that the region had been given a makeover.

Our first visit to the region was made in October 2017, when we found it to be rich in autumn’s charms, offering a mix of buildings and open spaces visitors were welcome to wander in and through. Returning in mid-January 2018, we found that not only has it been redesigned, but the clock has also marched forward, the environment settings perhaps suggesting a late spring morning; a time when the sky hasn’t quite made up its mind whether or not to let the sun in all its glory, but the air is warm enough to raise a morning mist from dew and stream.

Oh Deer; Inara Pey, January 2018, on Flickr Oh Deer

In this iteration of the region, buildings are conspicuous by their absence; not a single house or shop or any other permanent structure is to be found. Instead the land, split by a meandering stream, is given over entirely to nature, rich and greens and browns, with animals, plants and birds adding their own splashes of colour.

From the landing point alongside the single bridge spanning the quiet waters of the stream, visitors are free to wander where they please. Whether this be southwards, along the meandering track pointing away from the bridge, or north over the bridge to where the same track arcs around to take its own winding route south along the far side of the stream, is entirely a matter of choice. Or, if preferred, visitors can strike off the trails, and wander through knee-high grass and between the trunks of tall trees to where the mist hugs the ground, adding an ethereal feel to the landscape.

Oh Deer; Inara Pey, January 2018, on Flickr Oh Deer

Across the land can be heard the sounds of birds, crickets and the rat-a-tat of a woodpecker busy drumming on the stump of a fallen tree.   Squirrels frolic on the ground near the landing point, while fallow deer wander under the branches of trees, their coats as dappled as the sunlight filtering through the canopy of leaves overhead. Further afield, foxes might be seen, while cormorants , osprey, turtles and bear can be found scattered along the banks of the stream as it winds through the land.

This is, in a word, a tranquil setting; a place perfect for finding a little peace and forgetting the hustles and toils of life. To encourage people to tarry a while, picnic baskets sit on benches to one side of the landing point, while a little camp site hides behind the bowl of a tree on the other. It would be nice to perhaps have a couple of places visitors might rest further out from the landing point, where the peace of nature and the playfulness of foxes or rabbits or the wandering of deer might be observed, but this is a minor point.

Oh Deer; Inara Pey, January 2018, on Flickr Oh Deer

Simple and elegant in this iteration, Oh Deer offers a charming rip into the countryside, one suited to being seen in the cool spring light in which it is set, or under the blue skies of summer – as I’ve done with some of the images here. As always, photos can be submitted to the region’s Flickr group.

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  • Oh Deer (Heavenly Waters, rated: Moderate)