Mystical Eclectica in Second Life

Eclectica – Mystica

A year ago, I paid my first visit to Eclectica, a homestead region designed by Maddy Riddler. At the time, it was her first region design, and as I noted when adding it to my travelogues, it made for an enchanting visit.

At the start of August 2016, Maddy opened the latest design for the region, with the region also being featured  in the Destination Guide highlights for August 5th. As it has been a while since my last visit, the DG entry prompted me to hop over and have a little explore – and I have to say that once again, Maddy has created something which is an absolute pleasure to see.

Eclectica - Mysteria; Inara Pey, August 2016, on Flickr Eclectica – Mystica

Mystica, as Maddy is calling the latest incarnation of Eclectica, presents visitors with a richly wooded archipelago floating 240 metres above sea level, the home to walks, cuddle spots, mystical clearings, climbing stairs, a wizard’s tower – and more besides.

Building an environment in the sky can often be difficult; landscapes don’t always have a natural look and feel, placing an environment inside a skybox often leads to an unsatisfactory result with the sky, while leaving things open can lead to abrupt edges and drops around the edges, or illusion-breaking transparent walls to reduce the risk of folk dropping off unexpectedly.

Eclectica - Mysteria; Inara Pey, August 2016, on Flickr Eclectica – Mystica

Maddy tackles all of these issues admirably, presenting an island as natural-looking as anything which might be found at ground level. Rugged cliffs mark changes of elevation and gorges cut their way through a wooded landscape, paths bordered by tough grass winding between the trees, bridges and ramps spanning the narrow defiles between rocky outcrops, steps linking different levels. Around the edges, dense hedges over which mists gently float, form a “soft” natural boundary so even when standing on the edge of one of the higher promontories, visitors have a clear indication they’ve reached as far as they can go (although horizontally placed transparent surfaces prevent anyone accidentally taking several steps too far.

The paths through the landscape are clear and easy to follow, the trees and shrubs serving to break the skyline perfectly. As one might expect from a location leaning towards romance, places to sit, cuddle and dance can be found in glades, under trees, within the arches of gazebos and by pond and cliff edge. There are also touches of whimsy, hints of the mystical,

Eclectica - Mysteria; Inara Pey, August 2016, on Flickr Eclectica – Mystica

For those who do find romance blossoming and want to go further, the teleport sign near the landing point offers a way down to ground level and an island offering a choice of beach or forest automated weddings, which include a choice of ceremony types, dedicated honeymoon venues in a unique approach to in-world weddings which would appear to take a lot of the stress out of arrangements, scheduling, and so forth, and which can include close friends as witnesses.

Photogenic, romantic and a delight to explore, Mystica is another enchanting and delightful iteration of Eclectica. When you get the opportunity, do be sure to see for yourself!

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The Rains of Castamere in Second Life

The Rains of Castamere; Seek; Inara Pey, August 2016, on Flickr The Rains of Castamere – click any image for full size

Doubtless any Game of Thrones fan will recognise the main part of the title of this travelogue. The Rains of Castamere is a song immortalising the obliteration of House Reyne by Tywin Lannister when the former tried to rebel against his father, and can be heard in part several times in the TV series. It is also now the name of a new region designed by Arol Lightfoot (who designed Just Another Tequilla Sunrise – see my 2014 post here, and who shares the design honours with Krys Vitas for Rosemoor, which I featured in  May 2016).

The Rains of Castamere is not, however, a Game of Thrones role-play region. While there are many motifs from the books / series within it, Arol notes in her introduction that it also includes  other fantasy elements, and is intended to offer an environment SL photographers can enjoy – and it does so quite admirably.

The Rains of Castamere; Seek; Inara Pey, August 2016, on Flickr The Rains of Castamere

Split into two by a meandering channel running east to west, the region is mostly low-lying, with grassy banks rolling down to the water’s edge, although there are some  rocky aspects at either end of the dividing channel. One of the two land masses is sparse of tree and shrub, the other offers a broader expanse of land which is host to a mix of woods and open spaces.

The references to the world of Games of Thrones can be found throughout the region. There’s the tall tower of stone to the south-east sitting atop of a rock plateau, clearly representative of Casterly Rock, the ancestral seat of House Lannister. Two ruins lie relatively close to hand, either of which might be taken to reference House Reyne from the song, whilst the two bridges spanning the narrow channel carry on their sides the carved head of a lion, a nod towards the golden lion sigil of House Lannister.

The Rains of Castamere; Seek; Inara Pey, August 2016, on Flickr The Rains of Castamere

Across one of these bridges sits a stone castle topped by an iron throne, while two lions face off against two large wolves down below. All of these stand as motifs for Kings Landing and the enmity between the Lannisters and House Stark, whilst the looming figure of the armoured knight alongside the throne might be taken as a reference to Gregor “The Mountain” Clegane, bodyguard to Cersei Lannister – and by extension, Cersei’s hold on the throne.

The Starks gain further reference amidst a woodland of fir trees (themselves symbolic of northern latitudes) north and east of the castle. These arc protectively around a weirwood tree to one side, the symbol of the old gods historically worshipped by the Starks. However, perhaps the clearest reference to the GoT universe lay with the dragons. These can be found on the ground and in the air, and their reflection of House Targaryen is clear. One even flies above a ship on the west side of the region, and is surely a allusion to the coming to Westeros of Daenerys Stormborn, Mother of Dragons, as seen at the end of the sixth season of the series.

The Rains of Castamere; Seek; Inara Pey, August 2016, on Flickr The Rains of Castamere

Other fantasy elements are also to be found across the region in the form of unicorns, elven arches and lanterns, trolls, a dryad – look around and you’ll discover them. Many of the locations offer the opportunity to pose, sit and / or cuddle, thus furthering the photographic opportunities here (and more were appearing even as I visited).

The Rains of Castamere is an interesting approach to a region; while the landscape natural flows from point to point, so too does each location within it stand on its own as a photographic setting quite distinct from those around it. Opportunities for both landscape images and avatar studies can be found throughout, the latter obviously well-suited to cosplay shoots.

Whether you’re into Game of Thrones or seeking a new location for your photography, The Rains of Castamere has much to offer. And given the title of the region, it seems only appropriate that I close this piece not only with a recommendation to visit, but also with a rendition of the song.

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Cica’s Them in Second Life

Cica's Them; Inara Pey, August 2016, on Flickr Cica Ghost: Them – click any image for full size

Now open is Cica Ghost’s latest full region installation: Them, and it is perhaps one of her most intriguing, and oddly endearing installations, yet

Beneath a blue / ochre sky, across which clouds periodically scud, lies as barren, undulating landscape of rock and rounded peaks. Strange tentacle-like forms rise into the air at various points, their dimpled sides suggesting they might be hollow, while their tampering, slightly twisted forms suggest tree trunks denuded of branch and leaf.

Cica's Them; Inara Pey, August 2016, on Flickr Cica Ghost: Them

Across this landscape, a horde of naked figures can be seen. Almost all of them have heads bowed, backs slightly bent, arms held limply, as in supplication, while one or two are in their knees and one is prostrated on the ground. They all appear humanoid in form, although their bodies are proportioned differently to ours, slightly emaciated in build with skin a pale grey tone. Among the horde, small groups of three or four, along with the occasional individual, have their heads turned towards the sky.

That so few are looking upwards seems odd, because floating or hovering in the sky is a circular craft, a quintessential disc of an unidentified flying object, or UFO. It rotates silently, slowly, beams of light from some of the dimples on its underside sweeping over some of those below, sunlight sparkling occasionally off of its upper surface while illuminating the strange glyphs on its side.

Cica's Them; Inara Pey, August 2016, on Flickr Cica Ghost: Them

The presence of the craft suggests the vast majority of the crowd are paying obeisance to it; their heads bowed, bent forward attitude suggestive of subservience. Only those looking up appear to be the least bit inquisitive, heads cocked as their faces are turned towards the sky.

But look again; there is more going on here than might appear to be the case. The eyes of those on the ground appear to be deep-set, lost in shadow beneath heavy brows – or are they? Could their blackened eye sockets indicate they are sightless, or almost so?  Is this why their ears are disproportionately large, and why even those looking up seem to be looking towards the ship in the sky, rather than at it – as if they can hear its presence, rather than see it, and so have heads cocked to better detect the sounds it might make, so they might better understand what it might be?

Cica's Them; Inara Pey, August 2016, on Flickr Cica Ghost: Them

Then there is the ship. It is here to observe, or do the beams of light indicate something else – the classic teleporting beams beloved of close encounters stories? And if so, is the ship here to gather, or simply to ferry, being little more than an intergalactic bus service,  picking up another batch of passengers along its route?

Is there, perhaps, a metaphor here, awaiting our interpretation? And who are the “Them” of the title? Whoever might be aboard the ship, or those on the ground? The layers of possible riddle and interpretation are wonderfully stacked together.

Cica's Them; Inara Pey, August 2016, on Flickr Cica Ghost: Them

“There is no U in UFO,” Cica tells us through the About Land description, and you can sense the twinkle in her eyes in writing those words. They hint at the idea of mystery revealed – things are only unidentified until we can make sense of them in our own way. Is this the meaning behind the piece, and are the apparently sightless folk on the ground a metaphor for this obvious-yet-complex truth? Or is the entire piece toying with us: a riddle demanding we apply our imaginations to identify the narrative within it which most appeals to us at the time?

This is the real delight of Them, we can peel back the layers within it – real or supposed – in many different ways, making it an intriguing installation worthy of repeat visits.

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  • Them (Rated:  Moderate)

Gaming Islands: introducing users to Skill Games in Second Life

The new Gaming Islands - designed to introduce Second life users to Skill Gaming
The new Gaming Islands – designed to introduce Second life users to Skill Gaming

In a blog post on August 2nd, 2016, the Lab introduced their new Gaming Islands: regions designed to help Second Life users – particularly (but not exclusively), I would assume, new users – understand Skill Games in the platform, how they can play them (and why they may not be able to play them), together with a means to find them.

I’m not sure when these regions  – there appear to be two at present – opened, so whether the blog post has been timed to coincide with their launch or whether, like much that is in the blog post, they’ve been around a while but simply not promoted, is hard to tell. However, on reading about them, I jumped over to take a look – but before I get into the details, a quick bit of background.

Incoming new users can find their way to the Gaming Islands via a dedicated teleport portal on the Social Islands
The Social Islands provide a dedicated teleport portal  to the Gaming Islands for new users; established users can reach them via the Portal Parks

Gambling laws in the USA and around the world can be complicated beasts. What some might consider to be gambling to others might be viewed a game of skill, and vice-versa. This makes determining what is and isn’t allowed and by whom a difficult practice, particularly where the Internet is concerned.

Because of all this complexity, the Lab banned gambling in Second Life, whilst allowing games of skill to remain. Then, in 2014, the Lab sought to further refine the kinds of skill games involving money and payouts which are permissible in SL through a complete overhaul of their Skill Gaming Policy, together with the introduction of new Skill Gaming regions where such games can be played.

The new Gaming Islands are designed to help SL residents understand what Skill Games are, where they can be played, the kinds of games they might encounter, how they can get to play them – and why, in some instances, they may not be allowed to access the regions where they can be played, and finally to offer a means to reach Skill Gaming regions.

One of the example games in the Gaming Islands
Gaming Islands: one of the example games

To achieve this, the new Gaming Islands are split into four areas: the arrival point, a game play area; a Learn area which explains more about Skill Games in SL and how to access Skill Gaming Regions; and an Explore area which provides direct teleport portals to Skill Gaming regions provided by various in-world Skill Gaming Operators.

The game play area offers what appear to be “skill-based slot machine” games (yes, there are  such beasts in the physical world) with L$ pay-outs – although I have to admit, even after reading the instructions, I was unable to determine where the “skill” factor came into effect over and above the “chance” element (the requirement for Skill Games in SL is that their outcome “is determined by skill and is not contingent, in whole or in material part, upon chance”).

This is not to say that I think the games are not skill-based, but simply that – as a non-gambler / player of skill games, I simply didn’t get where skill enters into them, even after reading the instruction tabs. Perhaps this might indicate more practical explanations are required, or maybe it just indicates I just don’t get Skill Games. I’m also a little mystified as to why, more than an hour after I left one of the islands, the GamingIsland Operator made a small payment to my account – but hey-ho (addendum: apparently pay-outs are made at regular periods after play).

Gaming Islands Learn area - discover more about Skill Gaming and how to access Skill Gaming regions in SL
Gaming Islands: Learn area – discover more about Skill Gaming and how to access Skill Gaming regions in SL

The Learn area, designed to get people up-to-speed with Skill Gaming in SL, how they can ensure they are eligible to access Skill Gaming regions and why, even if they meet the SL criteria, they may still be unable to do so, is a little more straightforward.

To one side of the are a series of information boards designed to help people ensure they can access Skill Gaming region; on the other are explanations of what Lab’s define a Skill Game (lifted from the Second Life Skill Gaming FAQ), together with information on why, legally, some SL users may not be able to access Skill Gaming regions even if they meet the SL criteria for doing so. The split path perhaps isn’t the best approach here, given it might encourage some to simply go around one side and then up the stairs to the final section, but the use of teleport boards in the final section makes this a minor quibble.

The Learn section of the Gaming Islands provide information on what is required to enter Skill Gaming regions (together with step-by-step instructions on ensuring the criteria is correct), and why, even if the SL criteria are met, some users may still not be allowed to access the regions
Gaming Islands: a more detailed look at a couple of the Learn area info boards, which explain what is required to enter Skill Gaming regions (step-by-step instructions to meet the requirements are provided on the other side of the  area), and why, even if the SL criteria are met, some users may still not be allowed to access the regions

This final section, entitled Explore, offers teleport portal directly to a number of Skill Gaming regions provided by different Skill Gaming Operators. Should anyone find they cannot use the teleport portal, boards between the portals will teleport them to the Learn section of the island where they can double-check they meet the SL / legal (in the case of US residents) requirements for accessing Skill Gaming regions.

The Explore section of the Gaming Islands, with teleport portals
Gaming Islands: the Explore section with teleport portals

Skill Gaming isn’t to everyone’s interest, to be sure. However, providing information on what it is and how to find it is, I would suggest, a good idea, as is joining the dots for new users to be able to find their way to such regions, which give the opportunity to play for Linden Dollars. As it is, Skill Gaming operators pay a premium for their regions, and so providing a means by which they can obtain traffic on the same footing as other types of activity in SL is only fair.

In terms of the Gaming Islands layout, and my own problems in “getting” the games aside, the design is straightforward and does pretty much exactly what it says on the tin. Which is all one can ask, really.

Hide and Seek in Second Life

Hide & Seek; Inara Pey, August 2016, on Flickr Hide & Seek – click any image for full size

It affects us all at one time or another, that feeling of wanting to get away from things for a bit and find somewhere serene where we can wander with our thoughts. Somewhere away from the bricks and mortar, where tracks allow our feet to make decisions for us, and where there are opportunities to just sit or lie down and watch the clouds drift by overhead or the waves wash over soft sands, either on our own or in the company of someone close.

Hide and Seek offers us the chance to do just that in Second Life. This homestead region, the work of Seth Theodore Delwood-Reign (SethCohen Nirvana), is open to the public “for a limited time”, and offers a tranquil simplicity which invites exploration.

Hide & Seek; Inara Pey, August 2016, on Flickr Hide & Seek

From the landing point in the north-west corner of the region, visitors have a choice of a walk around the beaches to the west and south, or to head directly south-east through the island’s woodlands.

The beaches, separated one from another by grassy dunes, offer plenty of opportunities to sit and relax, either indoors or outside, under the sun or in the shade of broad parasols. Wooden beach houses vie with a little motel for visitors’ attention. The former offer seaside holiday charm, the latter the promise of air-conditioned rooms, cable TV and wi-fi, together with sitting cuddle poses. Nearby sits a partially completed building possibly destined to become a doughnut concession, a dirt track meandering by on its way to the grassy plateau occupying the south-east corner of the region.

Hide & Seek; Inara Pey, August 2016, on Flickr Hide & Seek

This plateau is the home of a small holding – but whether it still operates as a farm or is now a holiday home is perhaps open to debate. While there is an run-down barn outside with a tractor parked beside it, the presence of a barbecue and the general decor of the house suggest it is perhaps used more for vacations than anything else.

A track rolls down the side of this little massif, winding its way into the woods below to become the same path as leads the way under the trees from the landing point. Follow this, and you’ll find other tracks branching left and right: one leading back to the beach, another offering a short walk to a little camp site in the shade of the trees, and still another providing access to a cosy drive-in style movie theatre, again with opportunities to sit and / or cuddle. Elsewhere, hanging chairs sit below tree boughs and clearings beckon wanderers. There’s even a chalkboard on the southern side of the woods, hidden from the rest of the beachy sands by bushes, where folk can write and draw to their heart’s content.

Hide & Seek; Inara Pey, August 2016, on Flickr Hide & Seek

All-in-all, Hide & Seek offers the opportunity for a relaxing visit, complete with a gentle ambient sound scape, and an ideal destination for that getaway wander. Or if you prefer, you can grab a bicycle from the landing point and pedal your way over the tracks and sand. Should you visit, do keep in mind the house sitting on the small island in the north-est corner of the region is a private home; otherwise the island is free to roam.

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Windlight rebrands: welcome to Kultivate in Second Life

Kultivate-logoIn June 2015, I helped to spread the word about Windlight Magazine a (then) new arts-focused magazine for Second Life.

For its launch, Windlight sought to innovate, with programmes such as the Windlight Fellowship Programme and gallery, and over the last 12 months that desire to innovate has continued, with the title branching into areas beyond such as e-publication, music, literature, fund-raising, sponsorship, hunts, and fashion.

Because of this broadening of focus, on July 31st, 2016, Windlight founder John Brianna (Johannes1977 resident) officially announced the re-branding of the title to Kultivate Magazine, which will encompass all of the brand’s existing titles and activities, including the on-line magazine, the in-world Windlight Art and Windlight Bailywick galleries, The Edge (fashion) and The Edge Gallery, The Rift, and e-publications like the Quill and Pen. Kultivate will continue to support fund-raising activities, such as the work of Team Diabetes of Second Life, and run competitions, hunts, and events such as the 30/31 Event.

The new name came about for a variety of reasons, one of which is John’s own sister, Kandis. “In establishing Windlight, I wanted to honour my late sister,” he said. “Before her passing two years ago, her love of photography student took her to Paris where she experienced growth in so many ways, including taking her abilities to new heights as she perfected her photographic craft.

“Over the last year, we’ve seen Windlight grow in many areas, and we’ve growth in so many ways to cover the broad spectrum of art in Second Life. ‘Kultivate’ was selected as our new name to both reflect our broader aim of cultivating artistic expression, and to further honour Kandis’ memory through the use of the initial K.”

He continued, “Our strong commitment to the arts will never change. We will continue to have our art shows, our galleries, and our many artistic events to bring you the resources you have grown to love and utilize. If anything we will simply expand and bring you additional resources to help you to cultivate your craft.”

For the last 12 months it has been an absolute pleasure to work with John, Eles and the team, both as a contributing writer and as a quiet advisor. During that time I’ve witnessed not only the brand grow, but also those putting in all the hard work on moving it forward grow as a team committed to the coverage of art in its broadest sense within Second Life. I’ve little doubt that this rebranding will allow further expansion and great coverage of virtual arts across the platform.