On a SilverMyst and through a Veil of Darkness

Veil of Darkness
Veil of Darkness

On Saturday October 12th, Tymus Tenk and Truck Meredith invited me to see their 2013 Halloween Experience, Veil of Darkness a little ahead of opening it to group members to preview on Sunday October 13th. A full public opening is scheduled for Monday October 14th, and if you’re into Halloween, horror, the macabre or simply like a little spookiness, this is something you are not going to want to miss.

You start at the side of a road. Before you is a bridge, albeit bordered by information boards (one of which contains important information intended to help you enjoy the experience to the fullest). Make sure you accept the region windlight and, if you can, turn on Advanced Lighting Model (ALM: Preferences > Graphics > Advanced Lighting Model) – you can leave Shadows set to None. If ALM causes your computer problems, trying setting local time to Midnight.

Veil of Darkness
Veil of Darkness

Before you is a path winding through a woodland. Your goal – follow it and make your way to the brooding, dark mass of a castle on high and once there, find the door which will return you to the relative safety of the start-point. But don’t expect this to be a simple night-time hike; as my friend in the picture above shows, there are things to see here, and not all of them may be friendly. There are also places to explore, such as the village of the damned, the Halloween pavilion or the castle itself, as well as things to do, including a tour through a part of the region by raft.

Veil of Darkness is wonderfully immersive. As well as setting ALM (if you can) and windlight, make sure you have sounds on and allow the region’s audio stream to play. Truck has hand-picked the music for the stream, and it greatly adds depth and feeling to your explorations.

The routes you can take in your wanderings many be easy to find – or they may not. As the region is intentionally dark (another reason for keeping Shadows set to None when wandering), you may want to tweak the brightness on your screen a little. Keep an eye out for the torches which mark some of the route, and for paths through the trees and for boarded walkways; all of lead somewhere. Make sure you touch the things you pass in places. Not all of them bite. Some may even treat you :).

Veil of Darkness
Veil of Darkness

The level of creativity Ty and Truck have invested in this build is phenomenal, and the care and love employed in bringing it all together is evident everywhere – hence why I refer this to an experience, rather than a destination. The more fully you can immerse yourself in it, the more you’ll enjoy it. In fact, it’s fair to say that while it wasn’t built with Oculus Rift in mind, it would be ideal for use with the headset.

As you explore, you’ll get the feeling eyes are watching you  – or at least, eye sockets – and you’d be right. Here be monsters, ogres, witches, zombies, and other creatures of the night(mare) – some of which have far more than the usual two eyes one generally expects to find in others… There are also some delightful touches of humour to be found which will raise a small (or a wail!), and which are fully in keeping with the theme of the region. Keep an eye out for Bambi and his, um, friend, for example!

Veil of Darkness
Veil of Darkness

Finding your way to the castle is not hard – and there is certainly no need to fly or click-teleport to get there. Rather, the fun of the walk is discovering all there is to see. I spent two hours roaming around, and still found more to see when I returned after reluctantly dragging myself off to bed. So the key is to take your time. Especially in the castle.

Perched on a plateau overlooking the rest of the region, the castle is a foreboding place, reached via a long bridge. Here you will need to watch your step – literally – if you are to find your way. And if footsteps fail, a guiding hand may just help with directions. Or not.

Within the cold, hard stone of the castle are rooms and passages, each with its own secrets to be discovered. Finding your way up to the top may take time, but it is worth it. Once there you will find a Wonderland,  although the Cheshire Cat might not be quite so friendly as you’d been lead to believe from certain books. You might even find yourself in conversation with Malice in Wonderland, if she’s available.

Veil of Darkness
Veil of Darkness

It is in this room that the door to freedom is hid. But can you find it? The clue is there, as anyone with an inkling for Alice’s encounters should realise – if not quite right away. If you are stuck as to where it might be, there are at least comfortable armchairs and a sofa to sit on … and one or two objects inviting you to touch them. Will you dare?

Veil of Darkness opens on Monday October 14th and will remain so through until the start of November. As well as being open to exploration by the intrepid, it will also host some Halloween events – so keep an eye on the Calas Galadhon website.

Veil of Darkness
Veil of Darkness

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The Drax Files 12: the magic of the machinima maker

Ole Etzel is someone who knows exactly how to measure success. “My definition of success is that I can do what I want,” he states in the opening minute of the latest segment of The Drax Files.

Ole
Ole

This doesn’t mean that Ole is wealthy enough to do whatever he wants, or anything like that. It means that he has created an environment in which he can enjoy a huge amount of creative freedom in his work as a machinima maker, and is in a position where he enjoys complete creative control over all of his work.

This success has been largely due to Second Life, a platform Ole immediately saw as an incredible medium for a brand of artistic expression.  In this, his story is, on the surface, little different to that of many others who have come into Second Life and found a niche in which to excel, be it art, photography, physical content creation, game-building, or as an actor or voice artist or singer, and so on. It’s also a further demonstration that someone can actually be involved in a platform like Second Life and have a life, and isn’t actually using it as some form of escapism to slip free of real world pressures.

“I don’t think working at the computer is escapism,” he says of his work during the extended interview. “Perhaps it was escapism when my grandfather went down into the basement where he had a little miniature train and he built his world there. It’s really not very different. But it’s not escapism. It’s creativity.”

Ole’s machinima is a skilled mix of animation, music, storytelling and a very eclectic selection of themes and ideas all presented in something of an avant-garde style focused on his two principal characters of Mr. and Mrs. Bones. His creations, which together with his RL work can be found on his YouTube channel, demonstrate a painstaking level of creation which really does mark out machinima as being more – to borrow from Drax – than “hour-long Call Of Duty gameplay uploaded in unedited form”, which is sometimes how machinima can be perceived by those who have heard the term without actually studying it (or have engaged in an hour-long recording of their latest blast on Call of Duty…).

ole-2

Art can often be a powerful means of political expression, and Ole’s pieces are no exception to this; several of his films do carry a political message. In fact he sees Second Life as an ideal platform for art as political commentary, noting that many people involved in Second Life are political, “They use the tools to build little artworks with a political message; things that matter in the so-called real world.”

Given his desire to at times to produce works which touch upon the real world and / or which stir the cognitive processes, freedom  – creative and expressive – is something Ole sees as essential to his work. So much so, that he has consciously striven to keep his real-life identity completely off of the Internet and to adopt what he refers to the “eastern” approach to presenting oneself online, whatever medium he is using.

“There are these two attempts of how to deal with the Internet,” he says, “The more western, the more American attempt of putting your name and a lot of photos on Facebook, then there’s the more eastern, the more Japanese attempt of the avatar.”

Ole’s position is not unique; there are a number of artists involved in SL who only do so through their avatar alter-egos because of the freedom they gain for themselves, and because it allows their work to stand on its own without potentially being overshadowed by perceptions gleaned as a result of people being able to connect the digital with the “real”.

ole-4

This segment offers a fascinating insight into the machinima maker’s art, from storyboarding an initial idea through to the final product. Yes, it can be a lonely process – as Ole points out in the extended interview, he has a day job as well as his family, so his machinima is something which is restricted to evenings and weekends, when he has the opportunity to spend a couple of hours producing around 10 seconds or so of completed material. But the flip side to this is that the entire process is liberating and empowering.

“I used to run around with a big VHS camera on my shoulder … I needed a second person already for the sound, and then the cutting afterwards – it was terrible! I have a lot of footage, but I never finished a movie,” he notes.

Second Life and machinima have freed him from all that. Together they provide a means by which he he can steer his work through from beginning to end, and can do so unencumbered but either the cultural weight of more traditional, studio-driven film faire, or by the need to compromise on subject, technique, approach, etc., which can arise as a result of the collborative needs of more traditional independent film-making. In machinima, every aspect of the product can be creatively controlled and presented exactly as the machinima maker envisions, limited only by the technical constraints inherent within the platform.

ole-3

And even the technical constraints needn’t be as limiting as we might think; particularly when it comes to getting started with Second Life – a subject Ole also has some very clear views on.

A common critique levelled at the platform is that it is “too hard” for people to get to grips with, and the learning curve is too steep. That critique, more often than not, is levelled by people from within the platform. But is it really? As Ole points out, “Try using Blender. THAT’s a hard learning curve.”

His view is liable to be controversial in this regard, but I admit I actually understand where he is coming from and what he means. It’s easy to forget that the knowledge which allows us to use SL in the ways we want didn’t come to us all at once. Why, then, do we often look at newcomers to the platform and believe that they immediately need to be encumbered with the vast majority of knowledge which we only accumulated with the passage of time?

True to his word, with this episode, Drax is building on the foundations he’s laid throughout the series to date, offering another piece which invites those outside of SL to reconsider any preconceptions they may have with the platform and re-evaluate it as a valid medium of creative expression and endeavour. In Ole, we have the perfect spokesperson who can address both the world beyond SL and perhaps challenge the perceptions and bias those of us engaged in the platform may ourselves carry.

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Colour Key: an enigmatic journey

Colour Key
Colour Key

I’m an unabashed Rebeca Bashly fan. I have been for a goodly while, and still think her 2011 interpretation of Dante’s Inferno was an inspired installation (you can still visit it at UTSA Artspace and see for yourself). Similarly, The Tower from December 2012 was an equally fascinating study.

This month she is back at the LEA with another towering (literally – Rebeca does like the vertical medium in SL!) full sim installation entitled Colour Key, which opened on Monday October 7th. Quite how to describe this piece (other than “big”) isn’t easy. The artist herself has very little to say on possible interpretations and meanings, stating only that Colour Key is “all about human nature, breaking your spine to find answers that are under your nose. Explore and discuss, this is a joy to me”

Colour Key
Colour Key

Like The Tower before it, one travels through a tower-like structure passing scenes and images along the way. However, rather than travelling bottom-to-top as with The Tower, this installation takes you from the top down; and whereas  The Tower was deeply evocative in the images and scenes presented, Colour Key is more enigmatic. There is a common motif running through the build – that of the key (hence the title) – but the key to what? That’s for the observer to decide; and one’s ideas and views tend to be challenged as one passes through each scene.

This is also a dark build; not in the sense that it is sad or macabre or suggestive of suffering or evil or anything like that. It is literally dark, so much so that if you run with shadows enabled, you may actually want to set them to None (no need to disable ALM, though, unless you’re finding the scenes particularly dark). There are passageways and stairways to walk and climb as you travel down from the top of the tower, and if you’re not careful you’ll risk disorientation trying to make your way through the build with shadows active (particularly after you’ve sat on the box as instructed).

Colour Key
Colour Key

Scale is another feature of the piece. Parts of it are simply huge – such as the gigantic meat grinder poised menacingly over the first part of your journey and through which you must apparently drop. Keep an eye out for a key at each stage of your journey, it provides your only means of moving through the various scenes until you reach the ground.

This is an installation which needs to be explored and experienced rather than simply blogged about. It’ll be available through until the end of October, and a visit is recommended.

Colour Key
Colour Key

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Overto Omorto: a hauntingly beautiful installation

Overto Omorto
Overto Omonto

I was lead to Overto Omonto by Honour. The latest work by artist and creator Romy Nayar, this is – to grab a word from Honour as well – an exquisite full region installation which is being hosted by the folks at Per4mance MetaLES for the next two months, having replaced Chica Ghost’s evocative Ghostville.

Romy’s installation is an inspired piece which fits the run-up to Halloween perfectly, and presents visitors with a puzzle to solve. What’s more, one might even be tempted to say that there’s something of a metaphor here, with a finger perhaps pointed in a certain direction …

Overto Omonto
Overto Omonto

You see, Overto Omonto was once a prosperous place, bright and happy and full of life. But then, as Caballero, the greeter, tells us:

Little by little each one of us was isolating himself, and did not care what happened to others and  finally we could not talk to anyone. Our heart  becomes like stone and we were no longer able to communicate.   

Hmm. Isolation. Not caring. Failing to communicate; there’s something of a bell ringing here – but I risk a digression …

Overto Omonto
Overto Omonto

Now, those within Overto Omonto who could, would escape their lonely existence – but they cannot do so without our help. Each of them holds a secret, and we must obtain that secret – a password – so that we may help them achieve freedom from the darkness of their current lives.

The residents here are beautifully modelled, each one the focal-point of a haunting vignette which the imagination cannot help but create stories around. Take little Nina, as she watches a balloon rise up into the sky. Did she free it from the box on the ground beneath it, top thrown open? Is she wishing it well in its bid for airborne freedom? Or is she envying its flight, knowing she must remain Earthbound and trapped? And what of the box from whence it appears to have come – is it coincidence that its interior comprises strips of wood, the darker ones looking for all the world like the bars of a cage…?

Overto Omonto
Overto Omonto

Each character herein invites you to linger, study, observe  – and imagine. Their looks, poses and very demeanour projects so much without ever moving or changing. None of them remain quite what they seem on first inspection. Simply rotating one’s camera around them and viewing them from different angles invites the mind to consider each of them differently; their moods seeming to change as the camera and lighting shifts. Frozen they may be, but each is very much alive, if trapped within the scene in which they each appear, the scenes themselves inviting more than one interpretation.

This is a wonderfully immersive installation, one I’m not sure my photos really do any justice; to see it at its best, a personal visit is required. You can explore on foot or, if you prefer, grab a copy of the funky car which is available near the landing point and Caballero.

Overto Omonto
Overto Omonto

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An afternoon in Avedon Park

Avedon Park
Avedon Park

In my Second Life wanderings, I sometimes receive recommendations of places to visit, which are always welcome. So when Sammi Borgin recently dropped me a line about Avedon Park, occupying most of the full region of Newfie Land, I set out to investigate.

Avedon Park is home to The Factory, a club located up in the sky, and a landscaped park down at ground level, which is both open to the public and a home to the creative team behind the region. There’s a lot to see and do here, with walks, water features, castles, a touch of steampunk, a photo studio /gallery and more.

Created by Aura Firehawk and Karma Avedon, the region is largely free to roam, but as noted above, do be aware that this is also their home, so do please take note of any privacy signs you find while exploring. Also, please keep in mind that the property in the south-east corner of the region, separated from the rest by tall mountains, is not a part of the park but an entirely separate private residence.

Avedon Park
Avedon Park

The arrival point, located towards the west side of the region offers a teleport system for getting around and to get to the club overhead, and an information board which will offer to open a link to the Avedon Park website when clicked. This provides general information on the park, including a history to the place, which introduces readers to James Wellington Avedon, “a noted  entrepreneurial inventor and explorer” of the early 20th Century, credited with discovering the land, and Captain Charles T. Firehawk, “the noted WWI pilot and accomplished explorer”, Avedon’s partner.  The website makes for an entertaining (and informative) read when exploring the region, and has some very nice photography within it.

Where you go following your arrival is entirely up to you; the teleport system makes reaching some parts of the park easier than when using pedal extremities, but I do urge you to wander and take your time on foot – there is much to see (and do), and a lot of little details which make the time taken in wandering more than worthwhile.

Avedon Park
Avedon Park

Within the area of the park containing the arrival point you’ll find the Avedon Gallery / studio, a private house boat, a tree house and two large bodies of water. A path wanders through the area, crossing a stone bridge into Firehawk Cove, an island on the north-west side of the region offering places to relax by the water or to dance in the shade of a gazebo and even the opportunity to try your hand at fencing with a friend or two on a pier at the water’s edge.

Just before the bridge to Firehawk Cove, the path branches, with one part of it leading you across two wooden bridges and a small islet to Firehawk Island. Here you can follow a wooded path to a small beach and the Sanctum Tower, which faces Sky Castle across a narrow neck of water.

Sky Castle itself is apparently available to rent as a venue for weddings – although you might have to get your feet wet in getting to it! The castle – one of Alex Bader’s stunning creations (as is much else to be found here), sits on its own island on the north-east of the region and offers a commanding view back across the water to the Sanctum Tower and across to the tall cliffs to the east, which have further walks at their feet and the Avedon Amazing Music Machine further up.  The cliffs are reached via Fennux Park, home to a small colony of Fennux.

Avedon Park
Avedon Park

This is another region which has been put together with a wonderful eye for creativity and invention – the website accompanying it really is a must-read if one wishes to fully immerse oneself here, as it adds depth and colour to the park.

Windlight settings are supplied with the region, but as usual, I opted to play with my own in taking snaps, and the region is very photogenic in this respect, being suited to a wide range of windlight themes and settings, whether preset (viewer allowing) or your own.

I very much enjoyed my afternoon of wandering through the park, and loved all the little touches to be found – the deer drinking at the lakeside, the bird bath, the Amazing Music Machine and so on. For thosew who like a little activity, there is the aforemention fencing, opportunities to go swiming and various games to be found scattered across the park. Do make sure you have sounds enabled and speakers / headphones on when you visit, as the soundscape has also been put together with care.

All told, a recommended visit, and my thanks to Sammi for pointing Avedon Park out to me.

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Farewell to a garden at the end of the world

World's End Garden, circa November 2011
Worlds End Garden, circa November 2011

I first introduced to Worlds End Garden back in 2011, when I was taken there by Himitu Twine. After that visit, it became a regular haunt until one day the region it was on was under new management, and I thought the garden had been closed. In fact, Lucia Genesis, the garden’s creator, had relocated it to her own homestead region, and I’d missed any / all notices about the move prior to it happening.

However, in perusing Flickr, I came across an image by Lucia which carried a short announcement that Worlds End Garden will be closing on October 18th 2013, and that while her store on Kowloon and her SL Marketplace presence will remain, she is apparently ending her creative work in Second Life.

Worlds End Garden, October 2013
Worlds End Garden, October 2013

There are and will be many who find this news to be sad. While some are ill-at-ease with the various religious motifs found within the garden, many – myself included – have always found it a place of tranquility, where the heart can be put at ease and the mind can contemplate the imagery present in the region or simply float free.

The garden has gone through small updates and changes during its time in SL; but the central themes and motifs – the aforementioned religious motifs, the use of water, light, and sound (do have ambient sound on should you visit) – have remained constant.

Worlds End Garden, October 2013
Worlds End Garden, October 2013

There are now only two island vignettes remaining, and although the sky scene is still present, the teleport system appears to have been unlinked. Whether this is all part of gentle preparations for the forthcoming departure, I’ve no idea. However, for all of those who have enjoyed Worlds End Garden and haven’t visited for a while, the clock is now sadly ticking. For those who haven’t yet visited, I’ll leave you with some images of the garden, past and present and remind you that it will be available to see through until October 18th.

Thank you, Lucia, for providing such a haven for so long in Second Life.

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