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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Space Sunday: debris and the Kessler syndrome; more Artemis

Space debris: defunct satellites, rocket stages, launch vehicle elements like payload fairings, complete or fragmented, has increasingly cluttered the space around Earth since the birth of the space age and now poses multiple threats. Credit: ESA

I’ve written about the issues of orbital space debris several times in these pages. It is estimated that there are 150 million pieces of space junk surrounding Earth. The vast majority of this debris is too small to be readily detected – minute pieces smaller than a centimetre; still large enough to do mischief to a satellite or other orbital vehicle, particularly if a cloud of them happen to strike – but of no significant threat to those of us on Earth or flying through the sky.

However, there are between 25,857 and 56,450 large object orbiting the Earth; of these, between 10,000 and 12,500 are operational satellites (the numbers vary based on the collective orbital regions studied), and the rest defunct satellites, rocket stages, payload fairing and other debris large enough to pose a range of issues. These present a range of problems, some of which are obvious, others perhaps less so.

For example, satellites and rocket stages in low-Earth orbit (LEO) can be directed to re-enter the atmosphere so that any parts surviving re-entry “safely” fall into the Pacific Ocean at “Point Nemo” (officially called the oceanic pole of inaccessibility), the furthest point from land in any ocean or sea, and a place 400 km from the nearest air or marine route. However, as “safe” as this is, as I recently noted – they result in an increase in high-altitude pollutants such as aluminium oxides that is on the increase (as I noted in that article, SpaceX’s Starlink is now responsible for some 40% of debris burning-up in the upper atmosphere and creating up to 5 tonnes of (mostly) aluminium oxide dumped in the mesosphere and stratosphere per day).

The Japanese ispace Hakuto-R 2 lunar lander mission, launched on January 15th, 2025, captured this image of Earth on January 31st, 2025. It is looking directly down on Point Nemo – the “spacecraft graveyard”. Credit: ispace

There are others who are less considerate in what happens to their satellites and the expended stages of their rockets. Russia, for example, has a habit of taking pot-shots at its own satellites, blowing them up (and thus increasing the amount of fast-moving debris and adding to the general confusion, whilst China just tends to leave rocket stages to make an uncontrolled re-entry which, whilst pointing in the general direction of Point Nemo, could equally result in debris striking populated areas.

Even SpaceX has been a little cavalier; three of their service modules – or “Trunks” – from Crew Dragon missions have survived re-entry to come down near populated areas. The first was largely glossed over (it fell on Australia); the next two came down in America – one within a glamping centre, the other actually striking a house in Florida (fortunately without loss of life or injury). These two were enough to persuade NASA and SpaceX to move Crew Dragon splashdowns from the Atlantic to the Pacific Ocean, so the vehicles would not be re-entering the atmosphere over the continental United States.

A piece of debris linked to the Crew-7 Dragon trunk that landed within a glamping site in North Carolina in May 2024. Credit: Future/Brett Tingley

However, this is just the tip of the iceberg. Not only is there a vast amount of debris occupying the various orbital planes – low Earth orbit (LEO), medium Earth orbit (MEO), Geostationary orbit (GEO), Sun synchronous orbit  (SSO) – over the years all of the smaller debris previously mentioned has come to be spread more broadly around the Earth and across different altitudes. And the amount of potential junk we’re casually lobbing up in the form of smallsats viewed as “no bother” as even in an uncontrolled re-entry at the end of their useful life, they will completely burn up, together with the rocket stages used to get them there, is now accelerating. In 2024, for example, there were 263 launches world-wide, most of them delivering multiple satellites to various orbits and leaving upper stages in what are called “superspreader orbits” – orbit beyond those occupied by satellites, so as to minimise collision risks between them. Taken together, all of this increases the risk of collisions – and not just between a couple of objects; there is a very real risk of one or more collisions leading to an event referenced under the term Kessler syndrome.

Also called collisional cascading, the Kessler syndrome envisages a  single collision between two fast-moving orbital objects generating debris which goes on to strike other orbital objects, shattering them, causing more debris, and so on through a cascading set of collisions that could destroy entire networks of satellites – and orbital facilities like space stations together with orbiting crewed space vehicles.  If you’ve seen the 2013 film Gravity starring and Sandra Bullock and George Clooney, you’ll have seen a visualisation of a Kessler syndrome event.

Kessler syndrome is particularly relevant to the crowded domain of low Earth orbit which is currently getting packed out thanks to the arrival of megaconstellations such as Starlink (currently 7,000 active and inactive, with a plan for 12,000 potentially rising to 40,000 in both LEO and MEO, together with China’s planned 14,000 strong Qianfan (“Thousand Sails”). Because of these and the overall increase of commercial activities in LEO, the risk of a Kessler syndrome event occurring is seen as being on the rise – as is its potential range of impact (no pun intended).

A 2023 axonometric view of Earth showing the space debris situation in different kinds of orbits around Earth. Credit: Pablo Carlos Budassi

In particular, a study conducted by a team from the University of British Columbia (UBC) and published in Scientific Reports noted that a widespread collisional cascade could result in multiple large-scale debris elements entering the atmosphere to rain down fragments across wides areas, not only putting lives on the ground at risk but also causing potential disruptions to air travel and airspace closures, even when there is no direct threat to people on the ground.

In this latter regard, the report additionally notes that even without a Kessler syndrome event, particularly busy concentrations of air routes – like southern Europe, the Mediterranean Sea and Middle East; the Caribbean and Central America; south-east Asia through the Philippines and around the South China Sea – now have a 1 in 4 risk of suffering significant disruption as a result of orbital debris falling through them, and this could rise to 1 in 3 in the next few years (although the chances of an individual aircraft actually being struck by debris will remain around 1 in 430,000).

The report also notes that this potential for disruption is not limited to just space debris re-entering the atmosphere; the increasing number of launches around the world could see something of an increase in vehicle losses at high altitudes during ascent, also causing short-term airspace restrictions and aircraft diversions. In this, the report references the loss of the Starship vehicle during the January 16th, 2025 IFT-7 sub-orbital flight by SpaceX.  The vehicle in question exploded at an attitude of 124 km, with wreckage falling over the airspace of the Caribbean and Greater Antilles, resulting in aircraft being diverted and airspace being temporary restricted to avoid the risk of aircraft passing through clouds of small debris which could be ingested by their engines with unwanted results. Also, and as a by-the-by, this mishap resulted in 85.5 tonnes of pollutants in the form of metal oxides and nitrogen oxides oxides dumped into the upper atmosphere – that’s 1/3 of the annual levels of such pollutants dumped on us from meteorites burning up in the atmosphere.


A video captured from an airliner flying over the Greater Antilles showing the break-up of the SpaceX Starship on January 16th, 2025

All of which underlines the fact that whilst space companies point towards their use of more environmentally-friendly propellants for the launch vehicles – notably with the move away from using kerosene – this is actually a very small step in tackling increasingly complex problems resulting from spaceflight.

Boeing Warn of SLS Layoffs

Following my last piece concerning NASA Project Artemis and – particularly – the Space Launch System (SLS) and Orion crew vehicle – Boeing has formally notified employees working on the SLS programme that there could be lay-offs coming.

To align with revisions to the Artemis program and cost expectations, today we informed our Space Launch Systems team of the potential for approximately 400 fewer positions by April 2025. This will require 60-day notices of involuntary layoff be issued to impacted employees in coming weeks, in accordance with the Worker Adjustment and Retraining Notification Act.

– Boeing Statement in the possible layoffs notification

SLS Core stage engine sections, 2022. Artemis 3 (l) being fitted with its four RS-25 motors; Artemis 4 (r) awaiting the same. Credit: NASA

The notification is seen as evidence that the Trump administration is moving towards an immediate cancellation of SLS – and possibly Orion. However, the wording of the Boeing statement might indicate otherwise. The company and its partners in Artemis, Lockheed-Martin and ULA have been under pressure from NASA to reduce costs, and have agreed to do so. With the SLS production line maturing the notification might by in line with that goal, Boeing having the confidence they can reduce the SLS workforce without impacting the programme. As it is, the vehicles  – both SLS and Orion – due to be used in the next three Artemis missions (2 through 4) are already well advanced: 

  • The Artemis 2 SLS is being stacked at Kennedy Space Centre, and the Orion vehicle for that mission is awaiting final testing.
  • Construction of the core stages for the SLS vehicles to be used with Artemis 3 and Artemis 4 have been under construction in parallel by Boeing at NASA’s Michoud Assembly Facility, and work has commenced on the Artemis 5 rocket’s core stage.
  • The Orion vehicles for Artemis 3 and Artemis 4 are at Kennedy space centre, undergoing assembly and integration.
  • The European Service Module (ESM) for Artemis 3 was shipped to Kennedy Space Centre from Germany in August / September 2024 while the ESM for Artemis 4 is currently under construction in Bremen, Germany.

However, if the Boeing notice has been issued over concerns about cancellation, then as I pointed out last time out, it would likely only serve to severely delay Artemis, because there just isn’t anything available to readily replace SLS or SLS + Orion. Also, there is an argument to be made that whilst Artemis in its current form with the fully expendable SLS is unsustainable, continuing with it for the time being might actually help move the programme towards any SLS replacement without the need to completely disrupt the entire Artemis programme.

Right now, only Artemis mission 2 through 5 are funded to any degree; 6 through 10 have yet to receive serious budget allocations – although this will have to start soon. As such, it would seem to make more sense to continue with Artemis 2 preparations and the development of the Artemis 3-5 flight hardware whilst redirecting funds that would otherwise go into the vehicles required for Artemis 6 onwards into the development of a more cost-effective architecture, such as modifications to New Glenn and the Orion launch Abort System to allow the one to launch the other, and the development of a means for Orion to dock with ULA’s Centaur upper stage whilst on-orbit (required to get Orion to cislunar space, New Glenn being unable to do so on its own).

February 2023: Artemis 2 Orion (r) during system integration work; Artemis 3 Orion (l) on a work stand and Artemis 4 Orion pressure module (c). Credit: NASA

Such an approach would both allow Artemis to meet current goals – and even provide a buffer if mission dates have to again slip – whilst the alternate hardware is modified, tested, rated, and called for flight. Thus, by the time Artemis 6 rolls around, the new architecture could be ready to make its debut in place of SLS, and no significant ground has been lost in moving Artemis forward. Additionally, the specific use of New Glenn / Centaur would both fit with the current Lunar Gateway architecture (possibly the one thing NASA really should abandon but likely won’t) and avoid the need to cancel and squander Orion.

However, this is pure conjecture. Whether the Boeing notification was issued in expectation of SLS cancellation or not, is something that is likely to become clear within the next month or two.

Raven’s Ends and New Beginnings in Second Life

Atelier des Images – Gallery Gadot, February 2025: Raven Arcana: Ends and New Beginnings

Second Life photographer-artist Raven Arcana is, in my opinion, one of the most expressive artists exhibiting her work within the platform. I’ve covered her work – both individual exhibitions and as part of ensemble exhibitions – in these pages, and always appreciate the opportunity to see her work. This being the case, it was off to Atelier des Images – Gallery Gadot, operated and curated by Aurelie Gadot Costanza, to witness Raven’s latest work.

Ends and New Beginnings is a visual essay, richly expressive and poignant in the way the individual images can trigger responses and / or suggest a story in its own right whilst remaining part of the broader narrative Raven paints.

These poetic monochromatic Landscapes take you on a Journey, from the Ending to a new Beginning. Discover Landscapes that express Loss, Solitude or even Hope. You might find your own Story within them.

– Raven Arcana, Ends and New Beginnings

Atelier des Images – Gallery Gadot, February 2025: Raven Arcana: Ends and New Beginnings

As Raven notes, these are images intended to express emotions and feelings, something reflected in their evocative names as well as their depictions – Broken; Empty Places, Growth. Each has a single focus within the scene it presents, such as a fallen lighthouse or a tree, whilst bent, standing firm against the passage of time and wind as it edges towards maturity.

Combined with their monochromic nature, the titles of these pieces cause them to resonate with the observer and draw one in, encouraging both our emotions and our imaginations. Each has its own unique voice such that I’m not going to offer interpretations here; what they have to say even much depends on how we approach them: what we’re feeling; how life is affecting us at the point in time we visit; perhaps even encouraging a contemplation of things we would rather keep hidden, and in doing so offer catharsis.

Atelier des Images – Gallery Gadot, February 2025: Raven Arcana: Ends and New Beginnings

Catharsis might be a term applied to the broader story offered through the entire collection. In this, I would suggest following the exhibition from the right-side entrance as you face it. Bordered to the left by a quote on endings and beginnings by English poet Jennifer Birchall and At the End – a piece by Raven which, among a collection of expressive pieces, I found to be particularly powerful in its imagery.

From this entrance, one can progress around the exhibition from right through centre and then left, and in doing so, allow the individual  voices present in the pieces work to become a choir, their voices reaching a crescendo as one arrives at Raven’s images New Beginnings and Tranquillity, together with New Beginning, a poem by American poet Colleen Courtney. This form a final verse – or chapter – of the story; one filled with the promise that, for all of us, there is the promise held within the opening quote from Birchall.

Atelier des Images – Gallery Gadot, February 2025: Raven Arcana: Ends and New Beginnings

In all, Ends and New Beginnings is a beautiful collection of work, its expressive depth certain to touch all who visit. And, should you wish to keep alive the memory of the entire exhibition, the entire collection has been put together in in-world book form by Raven, offered for sale alongside the individual prints.

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Lab announces migrations to Tilia Wallet complete

via Linden Lab

On Friday January 17th, 2025, Linden Lab announced improvements to the financial and billing systems used by Second Life as provided by Tilia, the Lab’s trusted billing partner- see: Enhancing the Financial Experience in Second Life.

On Friday, February 7th, the Lab provided an update on this work: Faster Payouts Are Here! Second Life Completes Migration to Tilia Wallet.

In the interests of clarity and first-hand reading, I’m not going to list everything in here; better than people read the Lab’s own post. However, the following points are worth highlighting:

  • All USD balances are now securely managed through Tilia Wallet, providing a centralized and compliant way to handle fiat currency transactions.
  • Whilst maintaining all current pay-out connections:
    • Pay-out transactions should now process faster through Tilia.
    • There will be an introduction of direct bank deposits for the receipt of pay-outs (exact implementation time frame for this still TBA at the time of the update)
  • Updates to the Second Life Marketplace, Cashier, and Account dashboards to make managing payments smoother and more intuitive.
  • Enhanced Security & Compliance: Tilia is a fully regulated financial institution, ensuring that all transactions are secure, fully tracked, and compliant with global financial regulations.
This upgrade also marks a significant step forward in enhancing the financial and billing experience for all residents, ensuring greater security, reliability, and flexibility. Tilia has managed payments, tax forms, and KYC processes for Second Life for a while now. With this upgrade, they now also handle all fiat currency transactions, including securely holding USD earnings in Tilia wallets and processing credits (pay-outs). 
This upgrade also brings both familiar and new pay-out options, including PayPal, Skrill, and the newly added MassPay.

– From the Lab’s blog post

Again, please refer to the official blog post for full details.

2025 week #6: SL CCUG meeting summary: Linden Water news

Hippotropolis Campsite: venue for CCUG meetings
The following notes were taken from my audio recording and chat log of the Content Creation User Group (CCUG) meeting of Thursday, February 6th, 2025.

Please note that this is not a full transcript, but a summary of key topics. .

Table of Contents

Meeting Purpose

  • The CCUG meeting is for discussion of work related to content creation in Second Life, including current and upcoming LL projects, and encompasses requests or comments from the community, together with related viewer development work. This meeting is held on alternate Thursdays at Hippotropolis.
  • Dates and times of meetings are recorded in the SL Public Calendar, and they are conducted in a mix of Voice and text chat.

Official Viewer Status

  • Default viewer: version 7.1.11.12363455226, formerly the ExtraFPS RC (multiple performance fixes, aesthetic improvements and UI optimisations), dated December 17, 2024, promoted December 20, 2024 – No Change.
  • Release Candidate: Forever FPS, version 7.1.12.12999043440, February 4, 2025.
    • Numerous crash and performance fixes.

2K Bakes on Mesh

Linden Water Updates – Geenz Linden

  • The “not so great news”: it is not possible to get Linden Water to look exactly as it did “pre-PBR”.
  • The “great news” is that LL can get very close in terms of overall look.
    • Most of the old Fresnel reflection/refraction, together with some of the underwater fogging has been restored.
    • Some of the fixes for water are currently in the very latest Firestorm Beta (and will presumably be going into the official ForeverFPS RC, if not there already).
    • Feedback on the changes  – with the caveat things cannot (per above) ever be 1:1 with “pre-PBR” water appearance – is regarded as very important in order for the Lab to judge how well the changes are working.
  •  This work is not the end of water tweaks; Geenz is looking at restoring real-time water reflections once the performance impacts of doing so can be assessed.
    • This will involve the use class of Hero reflection probe (like mirrors), which means the mirror capability as a whole will need additional optimisation work, as any frame rate drops it might incur are currently deemed as “not acceptable” by the team.
    • In addition, Geenz is looking at improving reflections more generally via the automatic reflection probes, such as reducing the moiré effect of Screen Space Reflections (SSR) on water.
    • The above will hopefully be released either in a dedicated viewer to follow ForeverFPS, or rolled into the viewer(s) directly following ForeverFPS.

“Hide Water” – Water Exclusion Surfaces

  • Geenz Linden has been working to provide a means of excluding Linden Water from internal volumes such as boat hulls, and has arrived at a solution with the technical name Water Exclusion Surfaces (WES).
  • The capability will hopefully be surfacing in an update to the ForeverFPS RC viewer. When it does:
    • It will likely be an option setting within the Texture tab of the Build / Edit floater, the name of which is still TBD, but is currently being referred to as “Hide Water”, and will work with most prim and mesh shapes to which it is applied (see the limitations notes, below).
  • When used with boats and similar:
    • It will cull Linden Water and the associated subsurface fogging when looking down on the hull / surface from above.
    • If looked at from directly below, it will only cull the underwater plane, the fogging will be intact.
  • Water exclusion surfaces should work as well as / better than invisiprims (e.g. they won’t clash with worn alphas or cause shader issues, occlusion culling will work correctly, etc.
  • Limitations:
    • The capability will not provide volumetric water exclusion (e.g. “hiding” water from the inside of underwater buildings) –  This is a “future looking thing”, which might be addressed in the future. It is intended for use in boats and similar.
    • It is not intended to replace all use cases associated with invisiprims, and should not be taken to be a “replacement” for the latter.
    • The capability will not work when incorporated in an attachment (the attachment will render, but the exclusion surface will be ignored and will not hide Water)  or rigged mesh (the rigged mesh will likely be rendered black). This is by intent, to limit performance impacts. Also do not work on the system avatars.
    • There are some additional limits to ease performance impact (e.g. fogging will not get really dense when looking up through the water plane).

In Brief

  • Placing Linden Water on prims or mesh: not a capability currently being developed, but one that is subject to internal discussions at times.
  • It was again noted that many creators are still awaiting scripted support for PBR (e.g. PBR specific texture offset / UV coordinate manipulation).
    • This support is described as “still on the roadmap”, but may have had other priorities push it down the list of priorities.
    • The fact that creators are waiting on them will be taken back from the meeting for internal discussion.
  • Cosmic Linden’s PBR terrain painting work remains on hold due to her being engaged in other work.  Work on glTF  mesh import is much the same.
  • Geenz noted that following ForeverFPS there is a lot of additional render maintenance and similar work required on the viewer as well as additional  / in progress feature sets, and all of this work needs to be prioritised.
  • Maxwell Graf recently posted a request to increase the polygon resolution for terrain  – and asked about the potential technical / performance issue this might cause (if any), and whether it is something that might be selectable (e.g. if you want the higher polygon resolution then enable it on your region(s), if you don’t – then don’t!).
    • The short answer to this, there is no technical reasons as to why not – beyond testing and assessment for unforeseen impacts; although a) the request itself has yet to be officially responded to; b) the above doesn’t necessarily mean it will be acted upon.
    • However, it did led to LL requesting people with ideas for SL terrain to file feature requests for future consideration.
  • A further request was made for scenic backdrops to be available for regions (e.g. rendered options that can be rendered in place of the water and taking the form of a range of in-viewer selectable options – cityscape, forest, hills, mountains, etc., – so that actual mesh / sculpty based region surrounds do not have to be used.
    • This is something Sansar did reasonably well – including custom surrounds.
    • Feature requests via the feedback portal were asked for on this.
  • It was noted that SL lighting still needs to be updated – again not on the immediate roadmap, but under consideration; however, the hoped-for punctual lighting has been pushed back.
    • An issue with updating lighting (and things related, like how shadows function), is that the lighting system was developed at a time (early 2000s) where it had to be constrained. While things have developed to a point where those constraints may no longer be applicable, they are nevertheless heavily baked-in to SL, and will require considerable effect to unpick and replace.
    • Feedback through the feedback portal on what people would like to see with lighting / shadows was requested, in order to help the Lab further understand expectations, determine options and factor feedback into a more holistic approach to lighting in SL at some point in the future.
  • Screen Space Reflections (SSR): this is again something Geenz would like to get back to, but (again) would like feedback via the feedback portal on issues people have why they do / do not use SSR  –  particularly issues they have with SSR that are not related to Linden Water (e.g. on glossy surfaces), what they feel is needed, etc.
    • The general feedback on this was that SRR on other surfaces works reasonably well (if with random noise in places – which Geenz believes he has a handle on fixing in the future), and possibly increasing the angle at which it can be seen to take effect).

Next Meeting

Frank Atisso’s Tide Haven in Second Life

Tide Haven, February 2025 – click any image for full size

Update: Tide Haven has closed, so SLurl have been removed from this article.

I was one of a number of bloggers in receipt of a welcome invitation from Frank Atisso to visit his latest endeavour in Second Life: Tide Haven.

Frank is perhaps best known in SL as the originator of the Artsville, one of the foremost art galleries in Second Life, and which I routinely feature in these pages (and which he now runs with Vitoria Galli), and as both an artist in his own right, and as a Second Life DJ.  However, Tide Haven sees him move into a new area of expression: that of region design; and as one would instantly expect, given Frank’s artistic eye, this Homestead region design resonates as a highly visual, richly ambient and engagingly photogenic location.

Tide Haven, February 2025

Forming a rugged ribbon of land mixing uplands and coastline runs of sand and rock, Tide Haven could be just about anywhere in the world. The main landmass curves in a open C-shape facing south, a broad bay caught within its arms offering something of a sheltered – if potentially hazardous to the unwary skipper – place for boats to seek harbour. At one time, it may even have been a place for fishing vessels to off-load some of their catch.

The latter is attested to by the comprehensive set of wharves, decks and wooden huts built out over the the water along the innermost sweep of the bay. Meanwhile, the hazardous nature of parts of the bay are witnessed by eddying whitecaps suggestive of dangerous shallows, and the wreck of a trawler stuck fast to the rocks in the midst of the bay’s waters, despite the presence of a lighthouse close by.

Tide Haven, February 2025

Just how many fishing boats still come to the island is difficult to judge; what might have been working buildings for the the fishing trade built along the wharf now appear to have been converted (or replaced) by vacation cabins, the piers and decks themselves, whilst a little careworn in places, more a waterfront boardwalk than a place of work. The fish drying on lines along a section of them perhaps speak to more casual offshore and on-shore angling – the latter also witnessed to by the presence of little fishing camps dotted around the coast – than any concerted effort at fishing, while the surfboards and rowing boats stacked up on one of the piers add to the more vacation-like use of the place.

The uplands to the island lie mostly to the north-east and north-west, the land between them dipping down to a point where the sea looks to have invaded in an attempt to cut through the main island. The result is a wetland rich in swamp moss and stunted foliage through which narrow boardwalks have been laid on wooden piles. These allow passage across the wetlands, passing by way of a sandbar on which sits a fishing shack offering kayaks for rent.

Tide Haven, February 2025

It is the two upland areas that actually help Frank’s inspiration for the setting, as he explained to me.

My starting point was the church on the hill [to the north-west]. It’s inspired by a real life location in New Zealand, the Church of the Good Shepherd, and the caves are inspired by the Waitomo Glowworm Caves. Then I sort-of stuck to the New Zealand theme using stuff from there, but I didn’t want to name it as New Zealand as such, because I’ve taken liberties to deviate in spots!

– Frank Atisso

Tide Haven, February 2025

The Church of the Good Shepherd is located on the southern shore of Lake Tekapo (Māori: Takapō) within New Zealand’s South Island. It sits on a headland created by the lake’s shoreline and the inflow to it of Tekapo River. The area around the lake is famous for its seasonal displays of lupins that bloom from around Mid November until the end of December. The sea of colours created by the lupins have – together with its dramatic and romantic views over the lake and towards the surrounding mountains – made the church one of the most photographed in the world, further elevating Lake Tekapo as a popular destination for domestic and international tourists.

However, despite the annual influx of tourists, the southern end of the lake bordering the town and church is a protected regional park, and the lake as a whole and its surroundings are a designated as the Aoraki Mackenzie International Dark Sky Reserve, the largest dark-sky reserve in the southern hemisphere. This also marks the mountains around the lake as an important centre for astronomy, with a number of observatories located there, including the Microlensing Observations in Astrophysics (MOA), atop Mount John, a place often involved in seeking and studying worlds beyond our own solar system.

Tide Haven, February 2025

Located on New Zealand’s North Island, the Waitomo (from the Māori for “water” and “hole” or “shaft”) Glowworm Caves, known for its population of a species of glowworm exclusive to New Zealand, and which is also home to albino ants, giant crickets and – in the bodies of water within the cave system – longfin eels. However, it is the glowworms which attract visitors because of the stunning light displays “30 million years in the making” they provide to those taking the carefully monitored tours through the caves. With romantic names like Pipe Organ, Banquet Chamber, Catacombs and Cathedral (where Dame Kiri Jeanette Claire Te Kanawa once sang!), these caves are regarded as one of the spectacles of the world.

Situated on a north-western plateau rich in flowers (including lupins!), Frank’s little chapel captures the spirit of Church of the Good Shepherd, including its rich photogenic nature. Meanwhile, off to the north-east, and under another rocky plateau, Frank’s homage to the Waitomo Glowworm Caves offers a small take on their uniqueness which can be reached on foot (and provides access to one of the setting’s lovely hideaway seating areas.

Tide Haven, February 2025

Throughout all of this is an attention to detail that brings Tide Haven to life, including very personal touches by Frank. There are multiple places to sit and pass the time, indoors and out, much to explore on foot and – most obviously – photograph. When visiting do take your time exploring to appreciate everything in full – and do be sure to both use the local Shared Environment and have local sounds enabled.

And with all that said, and leaving you with things to find and appreciate for yourself when visiting (like the coffee bar out on its own rocky outcrop!), I’ll close with thanks to Frank for the invitation, and by saying to you – in keeping with some of the region’s inspiration – nau mai haere mai ki Tide Haven!

Tide Haven, February 2025