The Return of Hera’s Shangdu to Second Life

Shangdu, February 2025 – click any image for full size

Please note: Hera’s setting can be transient and can vanish quickly, depending upon her mood. Therefore visits are recommended sooner rather than later.

I first visited Shangdu, a region deign by Hera (Zee9), all the way back in 2022 (see: The natural beauty of Hera’s Shangdu in Second Life), and found it to be an engaging visit, flowing into itself so many ideas, suggestions and intent. Like many of Hera’s designs it was not long available to visit  – see the note above.

Shangdu, February 2025

Since that time, I’m not aware of it having made a reappearance in Second Life (although I might easily have missed it!). So, on learning it is indeed once more back and occupying a sky platform with the region where Hera’s latest Blade Runner inspired build can be found (one more directly related to Blade Runner and Blade Runner 2049 than the Brutal City AI version I dropped into back in November 2024, and so very much worth a visit in its own right), I had to jump over to the shared Landing Point for the two settings and poke my nose in.

As I noted back in 2022, the name Shangdu might be a familiar name to some, being that of the summer capital of the Chinese Yuan dynasty (c. 1271 to 1368), and more familiarly referred to in the west as Xanadu; a place written about and romanticised by the likes of Samuel Purchas and – more particularly – one Samuel Taylor Coleridge.

However, and again as I noted in 2022, Hera’s Shangdu is not intended to reflect Coleridge’s famed poem – although with this iteration, it comes with a poem penned by Hera, and available from the Shangdu notecard giver at the region’s main Landing Point (through which visitor must pass to reach the setting).

Shangdu, February 2025

Within the card, Hera notes something she passed on to me back in 202 concerning the inspiration for the build, and I’ll again repeat here:

The difference here being the opulence is in natural beauty. I first did this about 20 years back in Unreal Tournament; I was looking for something completely different to create and I found these beautiful paintings of a Chinese water Village. [However,] this is a complete fantasy, I have not tried for any particular accuracy in the buildings, although the textures are all taken directly from photos of the village.

– Hera (Zee9)

Shangdu, February 2025

In other words, in her Shangdu, Hera presents a 3D painting of a Chinese settlement, perhaps from the Yuan period. Given it is designed to be seen as an immersive painting, it is a largely static build when compared to her more recent builds, which have often utilised AI NPCs, with the interiors of building designed to be seen rather than offering significant places in which to spend time – with one or two exceptions. 

One of these exceptions – and new (I think) to this version of Shangdu is a pagoda and garden tucked into the south-west corner of the town, and itself overlooked by one of the meditation points beyond the walls of the town.

Shangdu, February 2025

Closer to the main gates of the town- which you must pass through after walking from the set-down area you’ll be delivered to after teleporting from the region’s main Landing Point – is the temple, unchanged from the 2022 version of the build and pictured in my previous piece on Shangdu, whilst facing the gate is the furnished house I also visited during my original visit, the the artist’s little shop alongside it.

However, just across the bridge from the house and shop, is a raised terrace outside of another building where food might be enjoyed under little paper lanterns, and which forms another little location I don’t recall from walking the streets of the town three years ago.  These added attractions encourage exploration along the footpaths bordering the town’s narrow waterways and over the bridges crossing them, and well as presenting opportunities for photography.

Shangdu, February 2025

Engaging and photogenic, Shangdu makes for a worthwhile visit, either on its own or as a part of a visit to Hera’s Blade runner build.

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Simurg’s spring romance in Second Life

Simurg, February 2025 – click any image for full size

I’ve had a number of suggestions for places to visit reach me of late – and I promise I will get around to hopping over to seeing them and potentially blog about them in due course. However, over the years there have been places I’ve particularly enjoyed visiting and look forward to re-visiting, and these tend to quickly bubble to the top of my list of places to write about whenever I note they have been redressed – and such is the case here.

Simurg occupies a quarter Full region, and since its inception has never failed to impress with both the beauty of its looks and the use of elevation to present a sense of space beyond the setting’s physical size. The work of Lintu (KorppiLintu) with the support of Kwoone Oui (Kwoone), this is a place which changes with the seasons whilst retaining the touches and care of design which always make it a must-see destination.

Simurg, February 2025

For the coming of spring – and the fact that February is the month of romance – the setting offers warmth in terms of both colour and in the romantic little places it presents in which visitors can pass the time. In doing so, it retains something of the elevated element of the landscape from the winter 2024 setting, and which which again presents the Landing Point.

However, while the wooden deck and seating area continue to cling to the top of the cliff and overlook the landscape below, the rest of this open space no longer sports buildings, but instead is now an open meadow-like space with wonderfully attractive vignettes: a stage suggesting literary or poetic readings, a table for two, complete with the dessert from a romantic dinner,  whilst an old piano has be repurposed as a flower planter, although as it is accompanied by a violin sized to present a cello, it still offers a suggestion it is there to provide music to accompany the romance of the setting.

Simurg, February 2025

A path winds down to the lower elevation to one side of this high meadow, passing Lintu’s workshop (once again open to the public) escorted by a parallel parade of trees to reach the lower part of the setting.

In following the path’s gentle downward sweep past the workshop, visitors arrive at a scene which those who visited Simurg in winter 2024 might find tantalising familiar in part. There is a body of water here, fed by a stream proceeding outwards from the vertical decent of a waterfall, which carries with it something of a memory of the broader stretch of stream passing through the winter 2024’s lower half.

Simurg, February 2025

The difference is that whilst that water was frozen for winter, and the stream narrowed to pass onwards to the edge of the region, now the water flows freely from stream into what is now a broad oval pond, the one open downstream length of the pond now closed-off by land. Thus, in its presentation, the pond offers one of those hints of the previous iteration of the setting I enjoy seeing, whilst still allowing this version of Simurg to be stand in its own right and independent of past builds.

Within the lower elevation of the setting there is – as ever – much to see, indoors as well as outside. Rowing boats sit on the waters of the pond to offer places to sit, and the temptation to perhaps dangle a hand in the water as swans form love hearts with elegant curved necks as they face one another. Around the banks of the water are further places to sit in the sunlight and watch the swans on the water or the horses roaming the meadow.

Simurg, February 2025

Two buildings can be found alongside the pond; one is the ever-popular Apple Fall Old Manufactory, the other a two-storey cabin by Hisa. Both are well-furnished and over little retreats  which, even if not used as places to sit, offer a wealth of detail and touches ripe for appreciation and photography. They also stand – along with the workshop on the slopes of the hill – home to the many cats who probably sit as the actual owners of the the landscape (because cats always take charge! 🙂 ).

Across the water lay an old terrace and fountain. The terrace forms the home to an outdoor refreshments area served by both fixed and mobile drink and food stands. Close by is a wrought iron gazebo where people can sign the setting’s guestbook (another guestbook can be found at the Landing Point).

Simurg, February 2025

Upstream from the pond and curtained behind the waterfall, sits another staple of Simurg’s settings: the cave, here neatly hiding the Simurg in-world store, as well as offering places to sit and pass the time.

As noted at the start, I always enjoy visiting Simurg; so much love and creativity goes into it (much of which I’ve merely glossed over here) that it is for me one of the gems of Second Life – but don’t take my word for it; go and enjoy it for yourselves!

Simurg, February 2025

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Scoglioro: an Italian-favoured cove in Second Life

Scoglioro, February 2025 – click any image for full size

When exploring Second Life, it is very easy to focus on spaces encompassing entire regions (be they Homestead or Full regions), and at one time there was a perception that holding an entire region was the only way to have the capacity to do something worthwhile. Mesh  – and considered use of the convex physic hull when it comes to basic prim shapes and careful cutting – has helped dispel some of the latter. Even so, it is still very easy to overlook spaces offered for public appreciation simply because the vast majority of public locations do tend to be based on entire regions (or perhaps half or a quarter region).

Hence why I always enjoy discovering little corners of Second Life like Scoglioro, a charming setting put together by Gabriel Oakley (Aaron Barony). Occupying just 5104 sq metres within a Full region, Scoglioro presents an imaginary setting tucked somewhere along Italy’s Amalfi Coast, a little village tucked into a shallow cove the sea once cut into the land prior to retreating once more, leaving behind a space cosily in the arms of surrounding cliffs to offer a protected and somewhat hidden place in which to settle.

Scoglioro, February 2025 

I’ve no idea if the beach resort of La Scogliera on that same Italian coast influenced Gabriel in any way. For my part, I prefer to think not; for one thing, La Scogliera seems far more commercialised than this quaint little setting, and for another, Gabriel has imbued his setting with a rich history, which I’ll come to in a moment.

Whilst occupying a small parcel, the sitting is given a sense of place as it appears to sit just off what might be a coastal through route in the form of a major road barrelling out of one tunnel to pass the cobblestone turn-off winding down to the village, before vanishing into the maw of another tunnel.

Scoglioro, February 2025

By doing so, this main road gives the impression that Scoglioro is a place road travellers might easily miss in their rush to get from A to B and back, much to their misfortune, as a turn turn off the road to park on the cobbles would allow them to discover a corner of tranquillity and calm.

The Landing Point for the setting is at the top of this turn-off, the cobble road curling around and down to reach the village, passing by way of an information board as it does so.  It is here, among a series of carefully placed leaflets and pinned pages all worth reading in their own right due to the little twist of life they also give to the setting, visitors can obtain a notecard on the village’s rich history and the local traditions; it’s a card I thoroughly recommend reading, as a lot of care has gone into it, and it further helps bring the setting to life.

Scoglioro, February 2025

The village itself is mostly shells and façade in terms of the buildings, rather than offering a wealth of interiors – but the fact that this is the case matters little (it’s also entirely understandable, given the capacity of the parcel); Scoglioro has more than enough outdoor décor and detail to keep visitors occupied, with the buildings and narrow streets and alleys serve as an excellent backdrop for photography. Boats sit outside of houses, hulls upturned and awaiting the next time they might be rolled down to the water’s edge; the local waterfront bar offers seating in a courtyard behind it and  above the water before it, together with an eclectic mix of meals  – tacos, fish and chips, tapas! – and the opportunity to admire the local street art.

The waterfront is also where  a furnished home can be found, its three floors overlooking the ocean, the taverna right next door, whilst above some of the terracotta tiles of roofs sits a small café, offers an open-air space to relax and chat, the steps leading up to it blending with the surrounding rocks.

Scoglioro, February 2025

The way up to this café passes by a couple of touches that give the setting a curious (and not entirely out of place) touches of Americana in the form of a old tram converted into a diner (albeit one which has seen better days) and a US Mail box (where visitors can drop a note to Gabriel). Further into the village can be found a US-style landline public telephone; again, at first sight it appears slightly anachronistic – but it actually fits the setting well, offering  a twist of interest that keeps the eyes alert for more.

Another interesting twist to the setting can be found underground; here, in what appears to be some form of underpass, one that looks to have been lifted from a more urban setting. It exudes a completely different atmosphere compared to the village, presenting a retreat unique to itself both in content and visually, thanks to the graffiti on the walls – and yet it is not at all jarring in its degree of difference; it just works.

Scoglioro, February 2025 

It is also a place hiding a secret; whilst it might be the light leaking around doors at one end of the tunnel, it is in the other direction that the secret might be uncovered, an intimate space for quiet conversations over a glass or two of perfectly aged wine. But I’ll leave it to you to find it.

Small, with plenty of opportunities for photography (with limited opportunities for rezzing props under the local group – but as ever, do pick things up again rather than leaving them for Auto Return to take care of it!), Scoglioro is a charming little visit.

Scoglioro, February 2025

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Art and The Digital Maze at Nitroglobus in Second Life

Nitroglobus Roof Gallery, February 2025: Christian Carter – The Digital Maze

Smartphones / mobile devices and social media – boon or bane? On the one hand there can be no doubt the ‘phone we carry in purse, pocket or holstered to hip or dangling from wrist strap can be a really positive thing to have. It allows us to stay connected – be it with each other or the world at large and the “news”; we can use it to capture precious (or embarrassing!) moment as a picture or video; it can be a life-saver and / or health aide in multiple ways, and so on.

On the other there are the ways it keeps us “connected”. All too often this means “convenient” texts rather than actual conversations, or seeking exchanges with people across town – or in a completely different town (and / or country) rather than those sitting in the same room as us; they set us on ultimately pointless hunts of “followers”, “likes”, “emojis” – even the temporary “thrill” of diving into this or that app for the rush of a vapourware “reward”, and more.

Nitroglobus Roof Gallery, February 2025: Christian Carter – The Digital Maze

Whether we like it or not, for all the “freedom” mobile devices and social media have given us – so too have they, in so many way, enslaved us; it’s no accident the terms doomscrolling and doomsurfing have entered many a lexicon: the increasingly reality is  that, whether we’re aware of it or not, the little screens in our hands are a form of addiction; and like all addictions, can be harmful more than helpful.  Worse, they have within them the power to alter our reality, large and small.

It is these points that are explored in the February 2025 exhibition at Nitroglobus Roof Gallery, operated and curated by Dido Haas. Presented as a visual essay, The Digital Maze by Christian Carter (XJustFriendX), encourages us to look anew at how we interact with our smartphones and the apps they put in front of us.

Nitroglobus Roof Gallery, February 2025: Christian Carter – The Digital Maze

Some of the risks inherent in our digital dependence are obvious – far from opening broadening our horizons of thought, social media is increasingly a tool for limiting perspectives; we seek “like minds”, we slavish adhere to (aka “follow”) those who only express the same outlook, entrenching, rather than expanding views. Others are more subtle; just how much freedom do we have when we constantly feel the need to scroll, to tweet, to see how many “likes” our last comment generated – as if this is some kind of grand validation?

What does it say of intimacy – on all levels, from shared love through companionship to simple conversation – when rather than using the the full richness of expression found in voice, tone, expression and pause, we hide behind flat words thumb-tapped on a screen “because it’s more convenient”? What is happening to our social skills when it is considered acceptable to ignore those we are with – family at home, people at a party, friends at the restaurant dining table – in favour of those to whom we can type or because it simple allows us to escape the reality of personal engagement?

Nitroglobus Roof Gallery, February 2025: Christian Carter – The Digital Maze

Through this series of quite magnificent pictures, each one balancing message with considered use of colour, image, framing and focus, Christian provides food for thought on all of the above – and far more. So much more, in fact, that I’ve honestly struggled with this article, because Christian’s images resonate so deeply with me (we appear to have similar thoughts and outlooks in this matter) that it has been hard for me to keep my own subjectivity in place, and instead allow The Digital Maze the freedom to talk in its own voice.

Which is why I’ve said enough here; go and see – and listen – for yourself.

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The Island of Kalokairi in Second Life

Island of Kalokairi, February 2025 – click any image for full size

Given that as I write this, February 14th is but a small handful of days away – and despite the fact I’m generally about as romantic as a cup of coffee – I thought I’d poke the Destination Guide to see what was going on by way of photogenic spots leaning towards the romantic. Among them I found Island of Kalokairi, a name that for some reason rang a bell, although I wasn’t entirely sure why, so off I hopped on what turned out to be a pleasing series of visits.

Of course, those who are fans of the film Mama Mia, the name is likely familiar as having temporarily been bestowed onto the very real Greek islands of Skopelos and Skiathos so that between them, they might represent the film’s major setting. This is probably why the region’s name rang a bell for me; I’d endured a portion of that film over Christmas (and still shudder at the thought of Pierce Brosnan’s brutal slaying of Abba’s SOS). However, for those – like me – who shudder at the thought of that film, fear not; kalokairi here is used as intended, being the Greek for “summer” (as in “island of summer”).

Island of Kalokairi, February 2025

The work of Ella.Marie (0o0EllaMarie0o0), the region is – in keeping with its name – a summertime haven and a place where romance might flow and where those already involved with one another can express themselves over champagne or by sitting by peaceful waters. For explorers and photographers, meanwhile, it is a place for wandering, taking pictures and for appreciating its natural beauty, with the hills of offshore islands and the nearby region of Prem, also held by Ella.Marie and her SL partner, Mike Chandra (MauiMike). A private setting on the ground level, this is also home to their art galleries and businesses, of which more anon.

Island of Kalokairi is itself split into two low-lying isles linked by a single bridge spanning the water channel between them. The northern isle is home the the region’s Landing Point, located within a large greenhouse-like structure. From here, a sea of flowers flows over the grasslands, encouraging visits to drift out into the open and start their explorations. This greenhouse is balanced by circular one on the southern island, the home to dancing and music. Between them, the these two greenhouses form the only enclosed structures within the region.

Island of Kalokairi, February 2025

Between these two greenhouses is a richness of pastoral and natural beauty awaiting discovery. Sheep and deer wander and graze, rabbits play and butterflies weave and fly, whilst cranes and herons keep an eye on the channel’s water, awaiting an unwary fish swimming out from under the water lilies, possibly disturbed by frogs or swans. All of this makes for peaceful wandering and well and multiple opportunities for photography.

Whilst the greenhouses are only two enclosed structures on the land, they are not alone; close to the circular greenhouse is an open-air deck dancing and event space. A further place for dancing can be found on the northern island, a short walk from the Landing Point and surrounded by the poles of a large tent. In addition, white pianos scattered around the landscape further the sense that this is a centre of music as well as romance.

Island of Kalokairi, February 2025

Four decks can be found stretching out over the the surrounding waters. Three offer places to sit and socialise, the fourth is screened by trees and offers a place of meditative retreat for those seeking peace and an sense of tranquillity. A large barge is additionally moored close to south isle’s round greenhouse; it forms a wedding venue, with details provided by the sign alongside the boarding ramp.

Kalokairi Where the sun always shines the blue sea glitters and nature blooms, capture its vibrant sunsets whilst dancing in the Ancient Ballroom or the outdoor Venue under the stars, Life is always better on the Island.

Kalokairi About Land

Island of Kalokairi, February 2025

Throughout all of this are scattered places to sit in addition to the decks noted above; from metal chairs with side tables offering pink champagne to cosy sofas and floating basket seats and benches and rocking chairs. All are just a short and pleasant walk away – or, for those with a wearable horse – a little ride away.

Earlier I mentioned the businesses over the neighbouring region. One of these is Simcaster, the couple’s streaming service – complete with plenty of advice for those wishing to stream audio and / or video in-world. A demonstration  – if that’s the right word – of the streaming capabilities Mike offers can be heard within Island of Kalokairi, which has a custom audio stream very much in keeping with the ideas of love and romance for those who wish to listen.

Island of Kalokairi, February 2025

Rounded out by a natural sound scape for those who like to explore without music, Island of Kalokairi lends itself to personal EEP settings for those who prefer (I used one of my own fixed skies for the photos here) and makes for a rewarding visit. And don’t forget the neighbouring sky galleries, featuring art by both Ella and Mike.

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Cica’s Dark Fairytale in Second Life

Cica Ghost: Dark Fairytale, February 2025

Cica Ghost’s installation tend to carry with them elements of fairy tale; sometimes these elements are obvious in terms of the narrative on offer, in others the fairy tale aspect is further offered by the installations title, whilst the installation itself includes touches and turns which might cause the mind to wander further than any idea of “traditional” fairy tales. But howsoever the theme might be presented, the installation itself is always engaging.

For February 2024, Cica presents Dark Fairytale, which – for me, sits within those installations Cica offers which perhaps encourage the mind to wander further than the “traditional” idea of fairy tales. Flowing into it – in very subtle ways – are a touch of Guillermo del Toro and a tickle of cosmology. As with all of Cica’s installation, use of the Share Environment is a must.

Cica Ghost: Dark Fairytale, February 2025

Dark Fairytale presents a dark, somewhat parched landscape of lowlands watched over by peaks and hills around their edges, with two hills detached from the rest as if scouting inland. Caught under a cloud-rippled sky, this is a place with an otherworldly feel to it – a feeling that’s increased by the large face of planet (or moon?) hanging low above the westward horizon, its surface marked by the veins of a vast mountain complex spreading outward from its southern extreme.

The presence of this world / moon which does much to cast this place as much into the realm of far-away worlds in distant space as much as it does conjure thoughts of fairy tale lands. Yet at the same time, the eye of this planet might cause some to think of our own solar system; for those familiar with Mars, one of the splayed tendrils of light coloured mountains stretching across the world offers a faint suggestion of a mirrored Vallis Marineris and Noctis Labyrinthus so familiar to Mars. The effect is entirely coincidental rather than intended, but for those who see it, it gives a further twist to any backstory the imagination might choose to write for the installation.

Cica Ghost: Dark Fairytale, February 2025

This is a world inhabited by various kinds of dragon (one tucked away off-shore), all of whom appear to peacefully co-exist with the local humanoids, who in turn appear to live in exotic little homes.  As with all of Cica’s characters, the creatures here carry with them a sense of innocence rather than menace, with the humanoids having some technical know-how, going by the snail car in the midst of the landscape. As one would expect, there are multiple places to sit or dance scattered through the landscape, whilst the creatures offer plenty of opportunities for photography.

Given the friendliness of the locals, the “Dark” of the installation’s title would appear to relate less to any idea of the kind of tales involving a twist of fear and / or horror, and more to the fact that this world is either dimly lit or seen at night. That said, the fantastical nature of the creatures and beings here does pump the cosmological element within Dark Fairytale, as noted. In this, the quote Cica has chosen for the installation also has a role to play, coming as it does from a longer statement by the late English cosmologist and theoretical physicist, John David Barrow.

Cica Ghost: Dark Fairytale, February 2025

All told, another marvellous setting from Cica, one able to suggest all sorts of stories to the willing imagination. And the hint of Del Torro? Take a peek inside the rotor-topped house, and you might spot it!

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