Winter 2024 at Le Monde Perdu in Second Life

Luane’s World – Le Monde Perdu, December 2024 – click any image for full size

‘Twas off back to Luane’s World at Le Monde Perdu for me at the start of December, and a visit to LuaneMeo’s always-engaging public region.

As one might expect given it’s the end of the year, the region has been redressed for a northern hemisphere winter, with Luane working with Gorba McMahon to bring visitors a lot to see and do within and snow-covered landscape.

Luane’s World – Le Monde Perdu, December 2024
A white winter blanket has settled over Luane’s World, a Nordic-inspired haven with charming red houses by a frozen lake. Explore the illuminated Christmas market in the village, then take a chairlift to a cosy mountain bar. Ski or sledge through snowy forests and down to the rocky shore to uncover a stunning ice cave with a museum of ice statues. On the island’s other side, visit a quaint fishing hamlet with a rugged, captivating atmosphere. Wonders await—so wander, explore, and enjoy!

– Luane’s World – Le Monde Perdu Winter 2024 description

For this iteration of the region, the land forms and inverted U around a cold water bay, watched over from the south by two mountainous off-region islands. The landing point is located on the western headland, where stands a little Nordic-style village with something of a carnival atmosphere about it. A Ferris wheel offers rides, the houses are cosy and warm, and a little skating rink has been set-up, complete with little stalls selling refreshments and goodies to keep people warm, with plenty of seating scattered around.

Luane’s World – Le Monde Perdu, December 2024

Low-lying, the headland and village overlook the semi-frozen waters of the bay, with the second headland away to the east also marked by buildings, these built right against the shoreline. To reach them, people can either make their way around the region on foot (or using one of the forms of land transport dotted around!), or they can cross the bay directly using either an inflatable boat or – in quite a novel option – by taking a bumper car over the ice!

When crossing the water, I’d advise saying clear of the polar bears out on the larger ice floes; they might look cuts and cuddly, but my experience (such as it is) is that you can never be sure that if one mentions “lunch” to you, it is and invitation or a recognition that you’re edible 😀 .

Luane’s World – Le Monde Perdu, December 2024

The buildings on the far side of the bay form a little fishing locale; it appears to be largely closed for the season in terms of actual fishing, but the cabins are warm and the puffins are hopeful you might have a treat for them!

A well-defined track runs between the village and the fishing shacks, following the curve of the bay as it does so. Along the way, the path passes a chai lift climbing up the local peak. At the top, a bar awaits as Santa flies past outside, and people can catch a drink or head out skiing or sledding. Two routes for the latter ware available: either back downslope or a little backcountry skiing / sledding along the northern ridgeline of cliffs.

Luane’s World – Le Monde Perdu, December 2024

Another trail zig-zags down the eastern extent of the ridge, linking once more with the lowland trails and paths. Little cottages sit in the lee of the cliffs,  each one offering a warm welcome – and one with a slightly lewd snowman outside! The last of these cottages forms a literal log house. It sits across the lane from a tall A-frame cabin, complete with a red and white jacket, pants and hat are drying on the line, suggesting that prior to taking to the air in his sleigh once more, Santa may have stopped off for a change of clothes!

Throughout all of this, the landscaping is simply perfect, the snow falls gently and the wildlife obligingly poses for photographs. As well as  all the activities available, the setting offers opportunities to simply sit and pass the time, either indoors or outdoors, with some nicely tucked away for those wanting a little privacy.

Luane’s World – Le Monde Perdu, December 2024

Luane notes that PBR materials are used within the region, and the note suggests these may not have Blinn-Phong fallbacks; so if you are on a non-PBR viewer, you may see “missing textures”.

It’s always a pleasure to visit Luane’s world at Le Monde Pedu, so I have no hesitation in recommending it as a winter destination for your travels. While visiting, keep your eyes open for the little touches of humour scattered around – the aforementioned snowman, for example, together with the little birds dressed for the festive season; but most of all – enjoy!

Luane’s World – Le Monde Perdu, December 2024

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Adwehe’s Alienated at Nitroglobus in Second Life

Nitroglobus Roof Gallery: Adwehe: Alienated
I think that you will all agree that we are living in most interesting times. I never remember myself a time in which our history was so full, in which day by day brought us new objects of interest, and, let me say also, new objects for anxiety. 

Joseph Chamberlain, during a speech in 1898

Some believe that the above quote is most likely the root for that hoary old “Chinese curse” may you live in interesting times – the “interesting” being an ironic metaphor for “times of trouble”. This is quite possibly apocryphal, given there is no similar curse in Chinese; however, Chamberlain’s original words have never really ceased to have meaning in the 116 years since they were first uttered.

Indeed, given the state of play in the modern world: wars, invasions, authoritarianism rearing its head even here in the west, pseudo-Christian nationalism, the open “othering” – or alienating – anyone daring to go against the perceived political doctrine. Perhaps more particularly, we are living in an age which is, more than ever before, being shaped by the second part of Chamberlain’s 1898 statement: we are faced with new objects of interest, which are increasingly new objects for anxiety, due to the way they have been used to amplify misinformation, divisiveness, false nationalistic pride and that over-arching alienation of differing values / belief systems / viewpoints.

Nitroglobus Roof Gallery: Adwehe: Alienated

In this, two of the most obvious objects of anxiety being used today are social media and AI. With its global reach and ease of availability, coupled with the relative ease with which it can be manipulated both directly (fiddling with the underlying algorithms) and indirectly (flooding with bots), social media is perhaps the most manipulated channel of mass consumption in the world today; whilst with its shallow artistic derivativeness and raping of genuine art, AI has become a primary means of reinforcing falsities through visual manipulation whilst corroding objective creativity.

It is thought like these which have been foundational to Alienated, an exhibition of art by Adwehe, which forms the final exhibition for 2024 in the main hall at Nitroglobus Roof Gallery, curated and operated by Dido Haas.

Nitroglobus Roof Gallery: Adwehe: Alienated

A multi-faceted expressionist artist working in 2D, 3D lighting, colour and sound, Adwehe uses Alienated to understand two intertwined ideas: the aforementioned ways in which tools such as social media are being used exploitatively for the benefit of a few and the detriment of the many; and her own entirely natural unease at the way tools such as AI all too often stifle genuine creativity and alienating us from genuine originality by presenting us with shortcuts to an end result by way of derivative re-use of elements and ideas appropriated by copying any and all digital images in the world.

The way in which she does so is through both artistic counterpoint and revelation through words. The images presented through Alienated are in no way dark or foreboding as one might expect from my statements above; nor are they laden with excessive narrative. Instead, they are rich in colour and free-flowing originality. As such, they speak out against the demands of black-and-white uniformity of thinking (where even grey edges of thinking are not permitted) and speak to the beauty of genuine creativity and artistic thinking AI simply cannot replicate – but all too often can smoother.

Nitroglobus Roof Gallery: Adwehe: Alienated

At the same time, the words of the accompanying text speak to the love / hate relationship which can evolve around such apps and tools. On the one hand there is promise of new worlds of information, engaging potential for expression and exploration of technique and abilities; on the other there is the fear of the unknown and the anxiety of having to “start over” when faced with a new tool and library of content, leading to a sense of self-alienation with one’s own creativity.

Thus, the text adds a further layer of meaning and insight / interpretation to Alienated, marking it as a multi-layered collection of images which are engaging both individually and within the overall context of the exhibition.

Nitroglobus Roof Gallery: Adwehe: Alienated

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Of Gingerbread and the Woodies in Second Life

Gingerbread and the Woodies, December 2024 – click any image for full size

Gingerbread and the Woodies is the title Alpha Auer has given to her 2024 seasonal design for her Alphatribe Island. Alpha describes it as a “sort of” continuation of her Ragville – but if you didn’t see (or don’t recall) that work, have no fear: Gingerbread and the Woodies stands on its own two feet as a delightful place to visit.

Alpha notes that the installation is made possible through the support of Olympes Rhode – so to her also go thanks for making the setting possible. Alpha goes on to note that the setting is best seen using the supplied Shared Environment, Draw Distance set to 256 metres and that shadows are enabled in the viewer.

Gingerbread and the Woodies, December 2024

While I’d certainly agree that shadows and the Shared Environment are a must, I’d very politely disagree over the need to set Draw Distance to 256 metres; while the region has clearly been optimised to help boost performance, should you have a system that might get a little grumpy with things like frame rates at so high a setting, I’d suggest going for whatever your system can comfortably manage, rather than feeling you cannot visit on account of that setting.

Given Gingerbread and the Woodies is a seasonal setting, it should come as no surprise that it is a snowy location; possibly somewhere in the far north, or at least where the temperature is such that the trees have their trunks coated in frost, and the waters seem particularly cold.

Gingerbread and the Woodies, December 2024

The Woodies of the title are the local inhabitants of the land; they live in gingerbread and cookie homes – some of which are quite grand – and share the landscape with the local wildlife. They appear to be a hardy folk; despite the cold look of the sea, some have just returned from a voyage to collect more seasonal things to put out around their houses or perhaps with which to dress their gingerbread trees.

If any of the goods on the boat are to be sold, then the local market is likely where they’ll be headed; here to join all the pastries, cakes, wreaths and other goodies. And should you feel particularly taken by some of the offerings within the market – you can buy them as well; even Alpha’s raccoons, bears, squirrels and owls are available to be purchased and taken home!

Gingerbread and the Woodies, December 2024

The houses and Woodies are scattered through the setting so exploring is a must in order to see everything. Alpha suggests leaving the Sun as is within the environment settings, but I confess that for some photos here and when filming, I did move it a little.

There are some good opportunities for photography with the Woodies  (they’re very friendly in this regard!), with Santa and a couple of his little helpers ready to pose with you. Rezzing is open for those wishing to use props – but while Auto Return is set (60 minutes), please remember to pick up after, rather then leaving them to be returned.

Gingerbread and the Woodies, December 2024

But really, this is a setting not so much for describing, but enjoying.  As noted, the region is nicely optimised, so hopefully most folk can follow Alpha’s recommendations for viewing the setting when visiting. However, and as I also hinted at above, I did take the liberty of doing some filming whilst visiting – more of an entirely unofficial “teaser”, if you will.; I hope it encourages you to pay Gingerbread and the Woodies a visit!

Enjoy!

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Cica’s Snowflakes in Second Life

Cica Ghost: Snowflakes, November 2024

Cica Ghost is back with a wintertime setting to see out 2024 with Snowflakes, and in doing so, offers us a little insight into the fact that even snow monsters appreciate a little warmth on cold winter nights when the stars shine brightly.

In a darkened world where hills rise like comical bumps a cartoon character might suffer after taking a bop to the head, birch tress point boughs bereft of leaves towards the nigh sky, as if trying to to pull down the blanket of stars to wrap around themselves and stave off the cold. All around, snowflakes drift towards the ground to join their siblings already there.

Cica Ghost: Snowflakes, November 2024

Night-time can be one of the most magical times to witness gently falling snow when the wind is calm and the air is fresh; there can be a wonderful sense of mystery, particularly when walking through wooded land  – and believe me, as one who has partaken of late evening walks through the park adjoining my home, walking under naked tress and over the bridges panning the local stream, I speak from experience!

But here, among these trees, are other wonders to be found. This is because, with the Sun long set and darkness all around, the local snow monsters have come out. Although in fairness, “monster” here is more due to a matter of their scale rather than any wicked intent on their part. Indeed, and as noted all they are seeking a little of the forementioned warmth – both the kind born of a warm fire and the kind from friendly companionship – or having a little fun building a snowman.

Cica Ghost: Snowflakes, November 2024

These chaps clearly mean no harm (although beware the falling snowballs near some of them!); one even looks a little looks a little unhappy and lonely on the cold night, possibly because there’s a nice little house close by (one of a number sharing the landscape) which could well be a lot warmer inside than it is outside – but he’s a little too big to get through the front door!

For those who like a little fun, there are Cica’s dances to be found and a pair of “snow rollers” to ride around on. The setting is accompanied from a quote from Lorelei Gilmore from the 8th episode of the first season of The Gilmore Girls, A show I’d never heard of until reading the quote – and subsequently finding the episode – love and War and Snow – is one of the most highly regarded of the show’s entire run. However, it expresses the mood of Cica’s Snowflakes perfectly:

Everything’s magical when it snows
Cica Ghost: Snowflakes, November 2024

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A Sweet Surrender in Second Life

Sweet Surrender, November 2024 – click any image for full size

Sweet  Surrender is a Full region held and designed by  Giulliana Dallaʂ (Giulliana Palen) and Fotis Dallas. It offers a multi-faceted location, rich with opportunities for exploration and photography, making full use of the available space to offer a little something for everyone. Whether you like tropical beaches, ancient ruins, brightly flowered gardens, hidden coves, underwater playgrounds, romantic spots, opportunities to dance or simply having somewhere to sit and talk or cuddle, then you’ll enjoy Sweet Surrender.

Sweet Surrender is a dreamy, romantic haven where love fills the air. It’s a place designed for intimate moments and magical connections. Soft lanterns cast a warm glow over cozy nooks perfect for cuddling, while a charming dance floor invites couples to sway under a canopy of twinkling stars. The gentle melodies of live acoustic music float through the night, creating an enchanting atmosphere where every glance, touch, and step feels like poetry in motion. Sweet Surrender is where hearts meet, and memories linger forever.

– Sweet Surrender About Land

Sweet Surrender, November 2024

The Landing Point sits within the north-west quarter of the region, just outside the Café de Paris. After being greeted by the local bird as he sings from a Tsukbai just outside the café, The basin looking to be employed as a means for patrons to rinse their hands after eating. From here, gravel paths offer several routes of exploration – which you take is entirely up to you.

You could for example, set out westwards to where the local lighthouse serves as a little store for Giulliana’s products whilst offering a lookout point over the sea and the sailing ship passing by, and to the headlands sitting to the north and the south.  Between the lighthouse and each are, respectively, a shingle cove and the region’s tropical beach. However, the beach cove is only one of two to be found to the south; the second, and smaller of the two home to one of the region’s romantic / cosy locations.

Sweet Surrender, November 2024

The beach is accessible from the path running to the lighthouse and from a second path as it runs south to loop around a rocky hill topped by some of the ruins scattered throughout the setting. From here it is possible to reach the smaller cove mentioned above and also climb up along the top of the southern headland to reach another retreat, this one with a shine alongside it.

This loop of path also give access to another elevated lookout point, this with a southern beach below it. In forming its loop, the path also passes by one of the setting’s inland bodies of water. Another such body sits at the northern end of the region the broadest point of a spine of rock rising to run north from just behind the Café de Paris. This second body of water, fed by waterfalls, offers a place to dance or to sit on the deck of an overlook, a little camp site below.

Sweet Surrender, November 2024

A stream cuts the region in two from north to south, two bridges spanning it, one towards the middle of the region, the other crossing the gorge formed by the upland in part occupied by the dance area and waterfalls, and a large cabin presenting another retreat. A path runs running down the east side of this plateau to another shingle beach.

Is is on this eastern side of the setting that the region’s third inland body of water can be found, imaginatively formed by water piped through an old grand piano. Gravel paths wander over the grass and flowers and under the trees here, as with the western side of the region; and like that side of the setting, they lead visitors to the many attractions to be found here.

Sweet Surrender, November 2024

I’m not going to describe all that lies here – better for visitors to discover; What I will say that within this part of the region is an event space which – I think – will be the venue for music events within the region, starting on Friday, November 29th, and thereafter on the second Friday of each month; those who don’t feel like walking can take a horse if they wish. I’ll also say that the underwater element to the setting can be found to the north as well – look for the the arch under the stone and Poseidon standing guard.

With greenhouses covering dance floor, grottos hiding places to pass the time or dance, many places to sit with friends or a loved one, the aforementioned ancient ruins to explore, Sweet Surrender offers much for romantics and explorers alike – and with winter drawing in for those of us in the northern hemisphere, it offers and engaging summertime visit.

Sweet Surrender, November 2024

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We Orange the World 2024, in Second Life

We Orange the World 2024: Debra Katz

Monday, November 25th, 2024 saw the opening of the 2024 edition of We Orange The World, hosted by the Artsville Galleries and Community, and organised by Jerzzie Reece-Redstar. Featuring the work of 24 women from across Second Life, the exhibition is now in its 4th year, and is intended to run alongside the United Nations Women’s 16 Days of Activism Against Gender-Based Violence, which runs annually from November 25th through to December 10th inclusive.

According to the  UN Office on Drugs and Crime (UNODC), violence against women  – notably femicide, the intentional murder of a woman or girl purely on the basis of her gender – is on the rise globally. In 2023 alone, the UNODC produced data which showed that every ten minutes through the year, a woman or girl was murdered by their partner or a member of their family, and one in four adolescent girls was abused by a family member. Nor is the violence restricted to physical abuse: psychological violence is a very genuine thing – one that can extend into virtual spaces as well, thus adding a further layer of relevance to We Orange the World.

We Orange the World 2024

The United Nations Women’s 16 Days of Activism Against Gender-Based Violence was initiated in 1991 at the inauguration of the Women’s Global Leadership Institute, in an attempt to reverse the use of violence against women. It is used as a nexus strategy by individuals and organisations around the world to call for the prevention and elimination of violence against women and girls. Initially a civil society initiative, the campaign has – since 2008 – been supported by the UNiTE campaign,  which runs parallel events with the aim of ending violence against women by 2030.

Within We Orange the World, now in its fourth year, artists have been invited to submit 2D and / or 3D art related to the general theme of the beauty and empowerment of women around the world. Entrants were asked to keep pieces positive, uplifting and empowering rather than negative in nature, otherwise subject matter and presentation were left up to the artists.

We Orange the World 2024

Participating artists for 2023 include: Blip Mumfuzz, Gwyn Evergarden, Duna Gant, Raven Arcana, Carelyna, Ilyra Chardin, Mareea Farrasco,  Dido Haas, Margo Hollak, Jaminda Moon, Selen Minotaur, Rhiana Rhiano, Sina Souza, Lori Bailey, Cana Restless, Masggie Runo, Marvayu Anante, Jerzzie Reece, Maloe Vasant, Scylla Rhiadra, Redi Bixchin, Tess Carfagno, Lizzy Swordthain, and Debra Kaz.

The exhibition area follows the same format as recent years: a central outdoor art display around the main event space as it sits under an appropriately orange sky (the use of orange and black through the setting, with other colours gently intruding, is striking in and of itself). This area hosts individual pieces by the majority of the artists as well as offering gifts to visitors.

We Orange the World 2024: Selen Minotaur

On the four cardinal point of the event / exhibition space, are are four indoor exhibition halls, each dedicated to larger exhibitions by Debra Katz, Selen Minotaur, Tess Carfagno and Ilyra Chardin; with Debra, Selen and Ilyra mixing 2D and 3D pieces in their installations. Finally, the four corners of the event area offer places of reflection, contemplation, music and remembrance.

We Orange the World traditionally includes daily events; unfortunately, no details beyond the first two days were passed to me in the invitation folder I received, and I didn’t find any information at the event itself. It is entirely possible such information is available of the event’s Facebook page, so if you have an account there (I don’t, so cannot confirm) do hop over and take a look for yourself there, just in case.

We Orange the World, 2024

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