A Viking Lost Dream in Second Life

Les Reves Perdus; Inara Pey, August 2017, on Flickr Les Reves Perdus – click any image for full size

I try to avoid returning to regions visited as a part of my Exploring Second Life series too soon after blogging about them. However, a tweet from friend Miro Collas prompted me to suggest to Caitlyn we head back to Les Reves Perdus (“Dreams Lost”), the homestead region designed by Chanell (zaziaa) for another look despite having only blogged about it in June.

As Miro pointed out in his tweet, a lot has changed in the two months since that visit. The provincial look has now gone, replaced with something far more Nordic in expression, but which is nonetheless as photogenic, particularly under the right environmental conditions.

Les Reves Perdus; Inara Pey, August 2017, on Flickr Les Reves Perdus

The setting is a Viking settlement, the surrounding hills and waves breaking in the distance beyond them suggesting it is perhaps set upon an island towards the mouth of a fjord or deep-cut river valley. A visit begins towards the centre of the island, on a small bridge linking the low-lying village with a set of fortifications. The latter has tall wooden walls marching between square towers which look ready to withstand attackers – but which also appear to be protecting a flooded area of land or a former inlet, rather than the village itself.

This arrangement at first seems a little odd: the village sits on a low-lying stretch of land between the fortifications and the high cliffs of a plateau to the east, open to access from the surrounding waters – which are deep enough for longships to sail or row right up to the wharves. It thus seems to be without protection, exposed to any attack which may come. Where one might expect the village to nestle, within the protection of the fort-like walls and towers, horses and sheep graze beside the inland waters.

Les Reves Perdus; Inara Pey, August 2017, on Flickr Les Reves Perdus

Perhaps the walls and towers are the remnants of a more violent time, when there was a need for fortifications. Perhaps they once completely encircled the lowlands of the island, joining at either end with the rocks of the plateau, but more peaceful times and circumstance led to the removal of part of their protection  to make way for the village buildings.

Whatever the reason, the village sits on open land, thatched huts and semi-stone barns offering homes and shelter for animals. Goats, chickens and cattle roam the gasses outside the huts as fires burn to cure cut meat and racks of fish are being dried on the wharves. Across the strip of water from the wharves sits an ancient circle of standing stones, a henge suggesting this island has been settled in the past as well.  Elsewhere, longships lie off-shore or moored close to the village – one of which is even ablaze, although I suspect this might be a funeral ship, rather than it being aflame as a result of battle.

Les Reves Perdus; Inara Pey, August 2017, on Flickr Les Reves Perdus

The high plateau, reached by steps cut into the living rock, passing a tall statue as they climb upwards, is home to a great hall, where fires burn, plans are being made. It’s easy to imagine much carousing and drinking of ale and mead within its walls in the long evenings.  Although the fort-like walls run outward from the plateau, there is no way to reach them easily, other than scrambling over the rocks; nor is there any way to get up to their walkways from the lower ground areas. Whether this is intentional or the result of the region still being tweaked, I’ve no idea.

This is in some respects an oddly eclectic region design, About Land suggesting it is for exploration and perhaps role-play. While the design is primarily Norse, there are also oddities hinting at other genres / activities. There is, for example a very fantasy-leaning collection of statues representing the four elements, while the great hall contains a medieval iron maiden in one corner. But none of this detracts from the setting offering good opportunities for photography (with a suitable windlight selected) and exploration.

Les Reves Perdus; Inara Pey, August 2017, on Flickr Les Reves Perdus

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Selfies and an exhibition in Second Life

Club LA and Gallery: Burke Bode

Club LA and Gallery, curated by Fuyuko ‘冬子’ Amano (Wintergeist) has a new ground-level location, which is still partially under construction. To celebrate the move, the gallery is hosting two exhibitions; the first, Selfies: Some of My Faces, by Burke Bode, has been open since July; the second, An Exhibition by Twain Orfan, opens on Sunday, August 20th.

“Pablo Picasso said ‘Everything you can imagine is real,'” Burke says of his exhibition. “He is right. Living in a world that is completely created from scratch just by the imagination of its residents you experience this. A place where you can invent yourself new every day and for a creative person a place where you MUST create yourself new every single day. [I’m] changing my look constantly as shape shifter. Some of my shapes last for a day, for one picture; and some stay.”

Club LA and Gallery: Burke Bode

He reflects this beautifully with an exhibition of images illustrating many of his various looks. These are presented in an enclosed space within the gallery, the images laid out to present something of a maze visitors walk through. Semi-translucent, the images resemble layers visible one through another so that as you walk through them, each appears to be peeled away, revealing the next, which is in turn peeled back at the next turn, and so on.

It’s both an artistic approach to presenting change and the possibilities to reinvent within the digital medium, and an intriguing means of commenting on the nature of identity and how we present ourselves in the physical world. While we may not be able to change our looks here, we do “change” according to circumstance, situation and those around us: the person we are with a lover is not the same as the person we are with a child; the person we present to colleagues at work is not the same as the one we share with our closest friends, and so on. Thus, Selfies might be seen as a reflection of this.

Club LA and Gallery: Twain Orfan

Twain Orfan his been active in Second Life for over eight years, but only immersed himself in the world of SL photography in 2016. “I enjoy taking photo [the] art of items that are often overlooked when photographers visit various sims,” he says of his work. “Finding pure art in objects such as a chair, a table, a flower-pot, or, perhaps a bicycle. From time to time I also try my hand at Landscapes, or an occasional shot involving my own avatar.”

An Exhibition reflects all of this with a collection of 18 images taken from around second life, all of which also demonstrate Twain’s interest in, and experiment with, angle, light and shadow. What is particularly fascinating with the images is the fact they are all raw: Twain resists the use of GIMP or Photoshop for post-processing, relying instead purely on the viewer and Windlight for his pictures. The result is a fascinating collection of pieces which are individual and collectively eye-catching, offering unique windows into our virtual lives.

Club LA and Gallery: Twain Orfan

Both Selfies: Some of My Faces and An Exhibition make for an engaging visit, with the latter officially opening at 12:00 noon on Sunday, August 20th, with music by Marain Dufaux.

The new gallery space itself offers more room for exhibitions, and includes a landscaped garden visitors can enjoy and an information centre / studio space. Teleport disks are provided to assist visitors in getting around – although in truth, everything at ground level is within easy walking distance of the landing point.

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No Life Without Art in Second Life

No Life Without Art: Kandinsky

“My passion for art has been part of my virtual life from the start, and in RL began many years ago,” Alo (Aloisio Congrejo) says of himself. “As an artistic ‘consumer’ there have been many artists both great and lesser known that I have followed and admired, but what is most important to me is to see the work of anyone who can craft various media in such a way as to express their feelings.”

Thus it is that for his latest exhibition, No Life Without Art, he uses his own artistic expressionism to celebrate some of the most influential artists of the early 20th century – Wassily Kandinsky, credited with painting one of the first recognised purely abstract works; Paul Klee, whose unique approach to art drew upon abstraction, cubism, expressionism and surrealism and surrealists Joan Miró, René Magritte and Giorgio de Chirico.

No Life Without Art: Giorgio de Chirico

A visit to the installation begins on a platform overlooking a 3D tribute to Kandinsky with a piece that – for me at least – echoes his Small World pieces, produced in the 1920s when teaching at the Bauhaus in Berlin. This part of the installation is perhaps best viewed from above and by camming, although there is a walkway leading down to it for those who wish to explore more closely.

Beneath this, and reached via teleport board at the landing point sit the tributes to Giorgio de Chirico and René Magritte. In the early years of the 20th century, de Chirico founded the scuola metafisica metaphysical art movement, which profoundly influenced the surrealists. Featuring dream-like scenes offering strong contrasts in light and shadow and often with an undertone of mystery or threat, the movement flourished through the second decade of the 20th Century and is notable commemorated in this installation through the inclusion of a representation of The Disquieting Muses (circa 1917) and what might be a play on The Seer (circa 1914/15), together with architecture and backgrounds reflecting those seen in many of de Chirico’s works from this period.

No Life Without Art: René Magritte

Set across three platforms linked by walkways, the de Chirico pieces overlook a wall of identical pieces which offer a play on Magritte’s 1964 composition The Son Of Man and which also might be said it echo his 1966 piece, The Pilgrim. These form a link with the lowest level, where the artists is again celebrated, with another image of a faceless man, together with that of an apple, which for Magritte symbolised the tension between the hidden and visible.  Both of these images are also symbolic for the artist’s influence on the pop, minimalist and conceptual art movements, whilst also offering a tip of the hat towards his own playful use of art.

This level also celebrates Joan Miró and Paul Klee, with the latter’s highly individualistic style very well represented through a reproduction of his 1922 composition, Red Balloon, and a 3D representation of Flagged Pavilion (1927), while Miro is represented by his 1925 work, The Garden.

No Life Without Art: Paul Klee

All five artists are well represented, and Alo also provides biographical note cards on each, allowing visitors to gain a greater understanding of their lives and works. In introducing himself, Alo notes that he appreciates those who can express their feelings through their art. In No Life Without Art, he clearly reveals his own depth of feeling for, and admiration of, these five influential and provocative artists.

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Yamagata in Second Life

Yamagata; Inara Pey, August 2017, on Flickr Yamagata – click any image for full size

“I have wanted an oriental themed sim for the longest time,” Ayla Zhoy (AylaJ) says of her homestead region design Yamagata, “and here it is! I’ve spent some time slowly working on this and I hope you enjoy your visit.”

Regular readers to these pages will know that I’m immediately drawn to anything with an oriental flavour. This being the case, Caitlyn and I hopped over to take a look around as soon as the opportunity arose – and we weren’t at all disappointed.

Yamagata; Inara Pey, August 2017, on Flickr Yamagata

As with many oriental regions in Second Life, Yamagata draws strongly on Sino-Japanese influences, blending the two together to create an environment which is eye-catching, relaxing, fun to explore (although do take note, it is a constant work-in-progess, and so is changing on a fluid basis) and with plenty of opportunities for photography.

The land is in fact split into a number of small islands – although such is the design, this may not immediately be obvious when exploring. The landing point sits to the north-west of the region, on an elongated islet it shares with a modest traditional Japanese style house and garden. A walk inland from the house will bring you to a stone arch, water tumbling from it as it links the island with one on which a bamboo of Pandas reside. A short distance away, and running through the trees occupying the eastern end of the island, a path provides access to the first of several bridges spanning the channels which divide up the land.

Yamagata; Inara Pey, August 2017, on Flickr Yamagata

However, before you leave the landing point, make sure you accept the offered note card, it has details of a number of points of interest worth visiting when exploring. These include tea houses, onsens, houses and ruins. They can be explored in any order, and each offers a setting very much worth seeing. Paths and grassy trails run across all of the islands, linking bridges and points of interest to one another, while stone steps provide access to the region’s elevated areas.

One of the more intriguing places to visit is the stone tower rising on the west side of one of the larger islands. This sits in two parts, one preciously balanced atop the other by a mix of what appears to be a narrow neck of stone blocks, an iron ladder and gravity’s attention being otherwise occupied elsewhere! The ladders offer a way up (right-click and sit), and the tower itself is a good vantage point from which to see the rest of the region.

Yamagata; Inara Pey, August 2017, on Flickr Yamagata

But really, the best way to see everything is obviously on foot, following the paths, discovering all the different locations and places to sit and contemplate or cuddle or bathe along the way. The pandas offer a cute distraction (the stone arch can be climbed over to reach them if you want – although it is not strictly speaking a bridge). There are a couple of boats in the region, but these don’t appear to be set to allow passengers to sit at present – or at least at the time of our visit; which is a pity as the one near the stone water arch makes for a nice spot from which to observe the pandas.

Yamagata really is a lovely setting, well suited to a variety of windlight settings and offering a lot for people to enjoy. The Sino-Japanese theme works well, and is complemented by a soft ambient sound scape entirely in keeping with the region.

Yamagata; Inara Pey, August 2017, on Flickr Yamagata

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Art in the wild in Second Life

Aly's Fine Art Gallery and Jungle; Inara Pey, August 2017, on Flickr Aly’s Fine Art Gallery and Jungle – click any image for full size

In May 2017, Caitlyn and I visited Aly’s Fine Art Gallery and Jungle, designed by Hepburn (Hepburn30) and Pross (Prosperine2) for region holder Aly (Alysheea). The region is a home for Aly to display her 2D and 3D art –  and also provide visitors with a place to explore. As such, it presents an interesting mix of place to visit and explore, and gallery to appreciate the art on exhibition.

The gallery space is located in the south-west corner of the region, and is formed by three tiki huts located around a small lake surrounded by sandy banks. Aly’s art, which is an intriguing mix of “traditional” photography, abstract images based on photos, and images which appear to have been captured in-world. These are displayed alongside and around 3D sculptures and mobiles.

Aly's Fine Art Gallery and Jungle; Inara Pey, August 2017, on Flickr Aly’s Fine Art Gallery and Jungle

Across the water, elephants graze on the long grass growing around a tall watchtower. Of African origin, the elephants are perhaps a little at odds with the rest of the setting, which – for myself at least – has a far more Asian look and feel to it than it does African. Nevertheless, the offer plenty of opportunities for photos and are quite magnificent.

Beyond this, the region is a mix of tropical rain forest and rugged uplands, and offers much that requires careful exploration.  The rain forest has a number of trails running through it, one of which leads to a wooden summer-house offering a place for couples to enjoy a cuddle or two alongside a series of waterfalls. Another of the paths leads to steps cut into the side of the plateau which rises from the north and east sides of the region. This is an area requiring careful exploration, as not everything to be found here is necessarily above ground: there are caverns awaiting discovery. For those who prefer staying out of tunnels and caves, there are platforms along the side of the cliffs offering seating areas, while others provide ways to explore some of the lower-lying rocks.

Aly's Fine Art Gallery and Jungle; Inara Pey, August 2017, on Flickr Aly’s Fine Art Gallery and Jungle

Throughout the entire region are many Asian influences: a statue of Buddha, ruins which wouldn’t go amiss in the jungles of Burma, Tai Chai exercise areas, and more. These are mixed with places to sit and cuddle in camp sites and elsewhere, and which include a platform beneath a hot air balloon. For the observant – again – a hidden opportunity to play the Moonphase Piano.

As noted, this is an intriguing region. The art exhibition is modest, but well worth a visit, while the rest of the region offers a chance for exploration and photography – and has over the months been captivate by talents far greater than my own.  That said, and being honest, I do have one or two quibbles with some parts of the build – the plateau and rugged areas are a trifle ragged in places, and could perhaps benefit from some gentle clean-up and tidying. But again, this doesn’t detract from photographic opportunities, either under the default windlight or similar soft lighting.

Aly's Fine Art Gallery and Jungle; Inara Pey, August 2017, on Flickr Aly’s Fine Art Gallery and Jungle

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A cyberpunk Cocoon in Second Life

Cocoon, Japan Rose; Inara Pey, August 2017, on Flickr Cocoon – click any image for full size

Note: Cocoon has relocated and updated. The SLurls in this post have therefore been updated to reflect the new region. Please also refer to for a review of the new Cocoon.

Cocoon is the name of a cyberpunk role-play region designed by Ellie (Mii1a), and it offers an atmospheric environment with a rich back-story.

It is the year 2487. The Earth surface has become virtually uninhabitable as consequence of wars and environmental neglect. Most of humanity has fled the surface in the hopes of building a new future.

Cities slowly float around three thousand meters high above the surface, to escape the corroding effects of the pollution and radiation on the city’s hull over time.

The cities are connected by dense air-traffic and there is a booming economy for all types of goods. The cities are controlled by many different rival mega-concerns in the science and weapon industry, yet most parts of the population don’t care about the large-scale politics and established connections on many levels between the cities. There exists a thriving black market for weapons, drugs, software, food, cybernetics and other technology which remains nearly uncontrollable by the big businesses.

Cocoon, Japan Rose; Inara Pey, August 2017, on Flickr Cocoon

The name Cocoon is that of a “an unimportant artificial asteroid” first developed by the Cocoon Corporation some 40 years prior to the current period. Over the years it has grown to a centre of commerce sitting between floating cities of Earth and the colonies on the Moon and Mars – and a convenient place where those wishing to avoid being noticed could also find a place to hide – providing they don’t do anything to bring themselves to the attention of the security services.

The city is divided into four sectors – an automatic industrial area with docking facilities for shuttles operating between Earth, the Moon and Mars; a residential sector located along a narrow street with a mall and a black market location; the entertainment sector (also the oldest area of the facility) and sector four – the secretive area run by Cocooncorp itself and which “very few people have been able to enter that building or tell what is inside.” Finding your way around can be a tad confusing, as it’s not entirely clear whether the sectors are all on the same level or defined by height – so keep an eye on the signage.

Cocoon, Japan Rose; Inara Pey, August 2017, on Flickr Cocoon

The confusion induced by the design actually adds to the build, rather than detracting from it; after all, who immediately knows their way around a city on a first visit? As it is, the design encourages exploration and increases the chances of bumping into / jumping in-progress role-play. The latter appears to be entirely free-form, and includes combat via the Sosumi combat System, which can be obtained by group members via kiosks located throughout the build.

The overall design carries a look that is – as with most cyberpunk / sci-fi dystopian build – a hint of Blade Runner about it. This is not to say it is in any way derivative; rather it offers setting which may be comfortably familiar enough to encourage role-players to get involved. There are a number of ways to get around as well: on foot, via the numerous elevators and – for those who join the RP group – bikes can also be obtained for use on the multi-level roads. RP locations can be found outdoors and in. Role-play can additionally be enhanced by the media boards scattered through the city. Operated by ONN – Orbital New Network – these offer “news updates” on events which could act as springboards for further role-play.

Cocoon, Japan Rose; Inara Pey, August 2017, on Flickr Cocoon

Unlike many RP environments in Second Life, Cocoon appears to be a vibrant community; during our visit there were over half-a-dozen players actively participating in role-play. A comprehensive website provides those wishing to get involved all they need to know in order to join in: back story, allowed factions, rules and guidelines and an application form – group membership is via application / invitation. What is particularly interesting with the website, is the fact that is active among members: character biographies have been written, the forums look to be active, as does the photo gallery. Members are even encouraged – and do – write their own blogs.

For those looking for cyberpunk / dystopian role-play (complete with the ruins of Earth at ground level), Cocoon could be just the ticket. Those looking for futuristic setting for photography may also find the region an interesting visit (just be aware it is a role-play environment and try to dress appropriately).

Cocoon, Japan Rose; Inara Pey, August 2017, on Flickr Cocoon

With thanks to Shakespeare and Max for the tip.

SLurl Details

  • Cocoon (Japan Rose, rated: Moderate)