Tag: Exploring Second Life 2025

Updated, March 19th: Calm is now open, and you can find my review in Chaos and Calm in Second Life – Part 2: a rich Calm, with the SLurl also at the end of this piece.

Back in May 2024 I visited The Butterfly Effect / Chaos Theory, a joint region design by Vally Lavender (The Butterfly Effect), and Megan Prumier (Chaos Theory) – see: Caught within a Butterfly Effect in Second Life.

Both were very different settings, one being largely rural in nature, the other being an urban rooftop setting, the two joined by their shared reference to the theory generally associated with mathematician and meteorologist Edward Norton Lorenz (although it predates him by a good margin!).

Now, Chaos Theory is back within Second Life – and once again it shares a region with another setting – one also very rural (almost wild in places!). The latter occupies the ground level of the region the two share, whilst Chaos Theory once again sits up in the sky.

The region is a Full private region leveraging the Land Capacity bonus. It is held by Izzy Moondust (iggymurphy), who kindly invited me to pay a visit to both settings within it ahead of the official opening of the ground-level location – called Calm, and which will form the second half of this two-parter – which is due around March 21st, although Chaos is currently already open to visitors. Given this, and because both regions deserve individual reviews, I’ll be focusing on Chaos Theory here.

It’s a setting that initially looks much as it did back in 2024 – and this is intentional, for reasons I’ll come to. It offers a wonderful rooftop sitting where buildings and attics open out onto neighbouring roofs, ladders and boardwalks link different levels and corners, and indoor spaces flow naturally into outdoor spaces and back.

The level of detail here is quite extraordinary, as was the case with the original – although I believe I’m correct in saying Megan has added more to this iteration, giving it even more of that sense of being a “lived-in” setting, rich in the kind of human clutter typical of an urban location. This makes careful exploration a must – although do keep in mind that the apartments scattered around are private residences, so do take care with interior spaces that are not clearly intended as a public space (residences are clearly numbered for easy of identification).

These apartments add a further depth to the setting, something I noted when writing about the original iteration, to whit:

There is a ramshackle beauty spread throughout these rooftop spaces that is admirable both in the level of detail provided and in the sense that this is a real, bohemian-leaning community of like-minded souls. It’s a setting with a real sense that music, art and creativity all flourish without ever being forced or artificially nurtured; somewhere where everyone lives more as an extended family than mere friends and acquaintances drawn together through shared interests. 

– from Caught Within a Butterfly Effect, May 2024

The music / social aspect of Chaos is event throughout; the original open-air dance  / event space remains the focal-point for activities, and at the time of my visit events were set for both the 18th March (commencing 20:00 SLT) and 19th  March (commencing 16:00 SLT).

One of the most remarkable aspects of Chaos and Calm is Izzy’s generosity, which alone makes both settings worth the visit, and I’ll allow Izzy to explain why in their own words:

Did you see Megan’s Chaos Theory build? I used to live on it before the sim owner closed it down. I didn’t want to see it go away so I got a region and asked Megan to resurrect it. I just want this to be a place for people to come and explore and attend events.

– Izzy Moondust on Chaos (and Calm)

This generosity extends to the fact to the private apartments mentioned earlier, as Izzy does not charge for their use. All were occupied at the time of my visit and – unsurprisingly given that sense of extended family feel I mentioned above – those occupying them have followed the setting from its original location over The Butterfly Effect to its new location with Calm.

There is a warmth and attraction within Chaos that is infectious, particularly when meeting Izzy, that has one wishing for the opportunity to put down roots there. As noted, at the time of my visits, all the apartments within Chaos were occupied; but if, after you’ve explored, you feel it might be somewhere you might want to live within – do IM Izzy and see what might be done.

I really enjoyed seeing Chaos Theory back in-world, and will – as noted – be offering a write-up on Calm once it is nearer completion, so as to allow Megan to work on it with Izzy in peace; expect part two of this pairing to be up a little later in the week! My grateful thanks to Izzy for the invitation!

SLurl Details

• Chaos Theory (Jhaeros, rated Moderate)

Designed by Madam Chaos (TheAwkwardMochi) and occupying a Homestead region, The Cloud Garden is a engaging setting that is both relaxing and surreal; less a landscape and more scene from a dream, as Moochi’s introduction to the region notes:

Immerse yourself in the soothing, surreal dream of a fairy-tale world in the clouds. Explore the dreamy landscape on foot or horseback to uncover its secrets, take photos, invite someone special for a dance, or relax in one of the many quiet corners.

Madam Chaos (TheAwkwardMochi)

The landscape itself sounds simple enough: a ring of yellow sand enclosing a shallow lake, a long tongue of land extending out into the shallow water, as if lapping at it. The Landing Point sits at the end of this tongue, not too far from the middle of the region.

From horizon to horizon, the sky rises from a pink-tinged encircling sea, itself first pink before becoming more yellow-to-orange and eventually a deep orange overhead, a massive rainbow-stippled Moon hanging overhead. beyond the pinky haze of the horizon shadowy forms of distant hills can be seen, mixing their forms with the flow of low-lying clouds as they dance around the setting while blankets of cloud speed by overhead.

However, this simple description disguises a lot;  not only is there much to be discovered as one explored the setting at ground level, there is a genius in the design in how it make use of the Shared Environment: take this away, and the setting stands as a largely monochromatic place: the sands a stark white and the low-lining lumpy clouds equally so, the cold blue of the waters one of the few points of colour. Around the sands, many of the trees appear frosted and frozen, the surrounding off-region hills taking on the appearance of icebergs.

All of this is beautifully transformed into a dream-like, surreal landscape through the use of the Shared Environment, the sand and waters turning warm and inviting, the hills softening into their shadowy forms. Nor does this magical transformation end there: the ambience of the setting changes as one explores, adding to the dream-like nature of the different vignettes spread around and over the ring of sand – and out on the waters of the lake.

From the landing point there are three routes of exploration: giant Xylophone keys point the way to a huge greenhouse, its floor flooded by the water of the lake. It is home to a gallery featuring uploads of Moochi’s physical world art, wonderful digital pieces (not AI generated!) produced from photographs Moochi has taken of plants and flowers. They are beautifully produced, with each piece offered in two versions: Copy / Modify or Transfer / Modify, depending on your preference.

Keeping with the musical theme, a piano keyboard also reaches out to a small, rounded island where stairs rise through low clouds rising from the sand like piled-up ice-cream, to reach a carousel. A marble bath floats serenely on one of the clouds as a unicorn gallops through the air, pulling a pumpkin-like carriage, with more surprises awaiting discovery around, under and over this frozen tower of clouds.

The third route away from the landing point is the tongue of sand itself, presenting the way to explore the outer ring. This path passes by way of a series of options for exploring, if you don’t fancy doing so on foot – and given the presence of the horse rezzer, those with their own wearable horses can add them as well – and there are what appear to be jumps set-up around the ring of sand to add a little fun to riding as well.

As noted above, the setting perhaps shouldn’t be looked at as a contiguous environment so much as a sandy path linking a series of dream-like vignettes, each with its own attractions, be they climbing a zipline (and riding  it back down) or making balloons fall from the sky (and popping  them), or visiting the floating cloud islands and relaxing on a bed. There’s also a rowing boat on the lake offering a place to relax as it moves itself from point-to-point around the lapping waters, whilst those looking for something quiet and restful can take to one of the floating seats or swings and pass them time wrapped in their own thoughts.

Offered with an audio stream playing suitably relaxing music featuring pan pipe, flutes, and similar, The Cloud Garden is a richly intertwined setting, mixing discovery, opportunities for reflection or photography or romance with dancing, horse riding, gently changing ambient environments and art. A genuine delight to visit and spend time within. Do read the introductory note card available at the landing point for more information on the setting and the work Moochi has put into it – and enjoy!

SLurl Details

• The Cloud Garden (Bubble Isle, rated Moderate)

A recent entry into the Destination Guide was for a mainland location called The Forest of Hours, described as a newcomer-friendly setting with a lot to see and enjoy. It immediately caught my eye, with the description drawing me in even further through its mention of Cael Ystafell, a place I know to be held by Kinn (Kinnaird Mainlander) and her Second Life partner, Ziki Questi, two people with whom I’ve been acquainted for a long time (Ziki being a former Second Life arts blogger I’ve greatly admired for her work promoting the arts in SL, and who is a massively accomplished photographer as well). As such, I was keen to hop over and spend a number of visits exploring.

To describe The Forest of Hours without including Cael Ystafell would be somewhat akin to a visit Paris without seeing the Eiffel Tower; both are completely intertwined and open to visitors and genuinely include a lot to see and discover, with portals and other surprises waiting to be found by wanderers. Both have been landscaped by Kinn, with Nix Onyx working on the core of The Forest of Hours alongside Kinn.

Kinn, Nix and Ziki describe the combined landscape thus:

It was our goal to create a space to show the possibilities of beauty on the Mainland … our joyful attempt at “reforesting” the Mainland on the Northwestern shore of the Heterocera Atoll. The Forest of Hours blends into Cael Ystafell … to the West, creating an unbroken treeline from Route 4 in Scape through Route 2 in Echo. Please feel free to explore all of the nooks and crannies and fun spaces tucked into the forest.

The Landing Point for The Forest of Hours lies at the side of Route 4 in the region of Scape and just inside the forest’s edge, close to a stone arch bearing the forest’s name. From here, the path winds into the mist-bound land, winding between trees through which rays of sunlight slant;  the tree trunks and mist work together to give a sense of mystery to wandering, concealing at they do what might be found, so that places of interest hide among the shadows, emerging from the mist in greeting as they are approached.

The first major location to so reveal itself is that of a once extensive structure built of carefully cut stone, the walls now broken and in places entirely absent, any roofing that may have once covered the shells of rooms now long vanished, the stone flagged floors and worn steps slowing giving way to the returning grass and moss of the forest. Within these remnants can be found a charming café, an open-air set for live music and dancing, places to sit (outdoors and in –  the latter courtesy of the House of Variants tucked into one corner) and even a magic potion brewer!

Where one goes from here is a matter of choice – paths wind onwards from the ruins, passing from them by means of arched doorways. Perhaps the most prominent of these, given it is signposted, is the one pointing towards Cael Ystafell – but don’t be in too much of a hurry to follow it; taking the path under the other arch away from the ruins offers its own mysteries, both above ground and under it.

Reached most obviously via a cave entrance sitting close to the path winding up the southern uplands to the forest, the landscape has hidden beneath it a network of tunnels and caves of a kind that just as you think you’ve found everything they contain, reveal something else within a waiting chamber. Meanwhile, the path up over this underground labyrinth offers its own many paths of exploration and places to discover, with camp fire meeting places, Japanese-themed elements and paths, meandering streams and tumbling waterfalls, and further routes pointing towards Cael Ystafell.

Along the way there are wonderful touches of detail to be found, from foxes and birds and more extraordinary creatures alongside trails and in the trees, to elements of 3D art carefully placed to surprise when encountered, together with multiple places indoors and out in which to spend time. The latter range from an artist’s studio hidden among the woods to a glamping tent with cosy bed and a Japanese tea house through to what appears to be (from the outside at least!) a witch’s cottage – and more besides, with the more outdoor places to sit equally as richly varied.

Also waiting discovery are a number of portals and references to other locations held by Ziki and Kinn. I’m not going to spoil things by saying where to find them, but do keep an eye out for the following:

• A doorway to Bay City, the community in which Ziki and Kinn are very active.
• A portal to The Far Away, a location originally created by AM Radio, and now in Ziki and Kinn’s guardianship (and which I wrote about way back in 2013!)
• A magic mirror that will lift you to Club Echo, a new venue where (I understand from Ziki) social and other events may be held in the future.
• Other portals and places – such as the underground New York apartment.

While exploring, visitors might also come across little references to things like Lucy van Pelt from Peanuts, a touch of Tolkien in the greeting over a doorway and what might be a further homage to AM Radio and his work, in the form of a radio studio and tower within Cael Ystafell, to name but three.

The Forest of Hours and Cael Ystafell are wonderfully landscaped and make for a relaxing and engaging exploration with a lot of discover and appreciate. Whilst naturally under a misty environmental setting, the locations are ideally suited to many ambient environments – as I hope some of the images here demonstrate.  Do be sure to visit.

SLurl Details

• The Forest of Hours (Scape, rated Moderate)
• Cael Ystafell (Echo, rated Moderate)

Maison de L’amitie (home/house/companion of friendship) is a Homestead region held by Corina Wonder I’ve been prone to dropping into on an irregular basis over the last several years. Throughout most of those visits, the region’s design has been the work of Corina herself, and has always presented photogenic setting, sometimes inspired by physical world locations (such as her 20219 recreation Bolivia’s Salar de Uyuni, which I covered here).

However, in dropping in to it at the start of March 2025, I was interested to note that while Corina still holds the region, the setting it presented is the work of LuaneMeo (holder and co-creator of Luane’s World, an oft-featured setting in these pages) and her frequent region design partner, Gorba McMahon. However, given the time since my last visit, I’m not sure if this is a new arrangement or one that has been going on for a while; not that it i important – the region remains as engaging as it every has been.

With spring starting to make its presence felt in many parts of the northern hemisphere, Maison de L’amitie presents a setting in keeping with the season – and one potential suitable for summer as well. The landscape is split into three: a large, main island and two smaller off-shoots looking as if they might have once been connected to one another and the main island, but which now sit just of the coast, low grassy / sandy humps just peeping above the waves enough to entice people to visit.

And visit they can; along the beach of the southern coast of the main island are a couple of wooden decks extending out over the blue waters (one so low in fact that it looks like its might be considering going for a swim!).

The larger of the two decks offers a little wooden boat with outboard motor to putter across the bay to either of the little islands, whilst the smaller of the two has an inflatable boat rezzer disguised as a life ring. Copies of the latter can be found on both of the smaller islands, thus allowing visitors to make their way back to the larger after explorations of the little isles has left them sans their original transport.

These two smaller islands are very individual in their looks. One is little more than a sandbar valiantly fighting the erosion of time and tide as they slowly but inevitably lays claim to its sands. An old adobe walled shack sits on the back of the island, now converted into a surfing shack and carrying various nautical-theme decorations within itself, a surfboard / paddle board propped again an outside wall together with a couple of paddles – the latter presumably waiting for someone to grab one of them and use with the board, the waters perhaps being far too peaceful for any actual surfing.

The second of these smaller islands is a little more substantial, a good portion of it formed by a grassy-haired table of flat rock sitting with an crescent of sand around one side. Trees have gathered around the remnants of a building here which, from the main island, might have the appearance of an old chapel long ago fallen into disuse and collapse. Within its shell someone  has built a little lean-to as a shelter and both it and the chapel-like window opening high on the wall offer places to sit.

The main island sits much higher above the water and is almost completely hemmed by a ribbon of beach running around its edge, the sands flattening and flaring out at the island’s southern extent to form a beachy promontory, its southern tip curling slightly towards the sandbar and  its shack, as if trying to reconnect to them.

It’s fairly clear from the compressed and sedimented layers of the exposed sandstone behind the southern arc of the beach, that this island has faced its share of inclement weather down the years sufficient enough to leave its mark in the exposed rock. However, this has not prevented the island becoming an attractive home and place for tourists to appreciate; the gentle rise and curl of its grass-covered back is home to a rich variety of trees and, around them, the vibrant colours of flowers in full bloom. This flowers seem to ebb and flow across the island’s middle saddle as it separates a large and beflowered stone house on the western uplands from the Tuscan-style villa to the east, the latter perfectly sited to look out over the beach’s broad headland.

The villa forms both the region’s Landing Point and a little café with both an outdoor terrace and upper balcony / rooftop seating area. The house across the island, meanwhile, offers a cosy, furnished retreat in which friendly conversation can be had in the conservatory or a game of backgammon enjoyed in the lounge, while upstairs a photographer’s studio awaits the return of its owner.

It is on the main island that the rich detail – evident throughout the setting – really comes into its own, Luane and Gorba having worked hard to imbue the island with a rich sense of life with details large and small. Signs of human habitation can be found all around the beach, as well as at the house and café (and the latter’s nearby neighbour); there are multiple places to sit and pass the time from deck chairs under parasols to lounger behind windbreaks to a touch of Californian surfin’ sixties, courtesy of an old VW camper offering a little beach-top surf retreat with a waiting picnic (and not the only picnic spot awaiting discovery at that!). Further around the sands to the north sits a tuk-tuk van both continuing the surf theme and offering a cosy retreat of its own.

Up on the island’s back, meanwhile, sheep peacefully graze, birds sing and pose on boughs as if awaiting their close-ups, butterflies add their own splashes of colour among the flowers, while swings, hammocks and canopied loungers offer places to set and contemplate the view and the setting. Overhead, an eagle circles on the updraughts created by the passage of wind up and over the island’s spine, aloof from the cawing and crying of the gulls over and on the beach.

Visually appealing, rich in colour, details and ambient sounds, Maison de L’amitie remains a thoroughly engaging visit.

SLurl Details

• Maison de L’amitie (Dekade, rated Moderate)

It was off back to Lam Erin’s Cherishville for me (in between growling at the PC, which decided to start playing up on me), to see what had come forth for the coming of spring.

The work of Lam and his SL partner, Azaria (AmariahRenee), the setting once again contains some echoes from past setting there, helping to give that sense of continuity, whilst also presenting something entire new and – as usual – photogenic.

That sense of familiarity is felt immediately on arrival:  once again, the Landing Point for the setting sits at one end of a road running before a row of houses, a road which form a T-junction at the one end and which turns sharply right at the other; only this street is cobbled, rather than paved, giving it something of a rural feel, something further trees and flowers facing the houses.

A further hint that this iteration of the region represents an earlier time that what has come before can be found in the saloon car parked at the end of the street, just before the road makes its right turn to the south.

Behind the row of houses sits a large lake, which takes up the middle are of the region. Rather than gardens or yards, the houses share a common terrace reaching out to the water, complete with docks for rowing boats and kayaks.

Whilst plentiful in number, these water craft appear to be for décor and sitting rather than taking out on the lake – which is fortunate, as the waters are the home to swans, with some of them nesting (together with ducks to one side of the lake).

Aside form the road passing around the lake on its west side, much of the land surround the lake continues the rural, almost pastoral theme; sheep graze, trees and flower bloom, streams and brooks bubble.

Winding through a good part of the scene, the road provides access to houses and cottages on the southern side of the lake, which they can look across from a slightly elevated position, one of them offered s a farmhouse with pigs, goats and chicken.

There’s no indication as to where in the world this iteration of Cherishville might be – not that this is important – but the large semi-fortified house on the east side of the region and again overlooking the lake did, for whatever reason, suggest Scotland to me – possibly helped by the off-region mountainous surrounds. This large house is a new(ish) release from Marcthur Goosson, and appears to combine elements of some of his previous designs (notably the MA MAISON Medieval Cottage and the Castle Gate Tower BARREZ, medieval style building) to present a large and engaging structure.

Whilst the fortified house is unfurnished, most of the rest are complete with furniture and décor, offering opportunities to peek inside them and perhaps take a seat as an alternative to the seats, boats and benches found outside.

Cherishville always tends to be be attractive – if with the occasion niggle with floating elements – but this iteration has the feeling of going beyond in the way the palette of colours from sky to scenery to buildings has be brought together as a whole. In this the use of PBR helps as well, the materials providing a sense of added depth to things like the exposed rock alongside the shoreline of the lake.

The simplicity of the setting, coupled with its natural beauty means that detailed descriptions really are not required; the region speaks clearly for itself.  With this in mind, I’m going to shut up here and encourage you to go see for yourself!

SLURL Details

• Cherishville – Spring (Tuscan Hills, rated Moderate)

I recently received an invitation from Nero (NeroRhea Supermarine) to visit her new public setting in Second Life – her first such undertaking offered to everyone to visit and appreciate – entitled OBSIDIA.

Set within roughly a quarter of a Full region leveraging the Land Capacity bonus, OBSIDIA presents an engaging and enigmatic location, which is both highly personal to Nero both in terms of being her first public setting design and the fact that – as she notes herself – she has tended to keep her Second Life to a small circle of friends; thus, presenting her creative intent to an audience across Second Life and beyond the art circles in which she has operated is a daunting exposure.

After more than 17 years, I finally feel the desire to share something with the rest of the world. OBSIDIA is the latest of my visions brought to life in Second Life, a space open to anyone who wishes to experience it. It’s a remote and enigmatic place, suspended between the present and the unknown, somewhere between tranquillity and unease, where reality seems to dissolve. It may feel like an escape from everything, yet there is always a lingering sense that something more awaits, something yet to be discovered. Take your time to explore and enjoy its different areas, designed for private relaxation, contemplation, or intimacy.

– NeroRhea Supermarine

I was immediately drawn to Nero’s description on reading it’s a remote and enigmatic place, suspended between the present and the unknown because I’ve always felt there is something romantic and compelling about visiting a place that might be referred to as being caught somewhere between now and when; so I knew I’d have to hop along and explore – and the region does not disappoint.

Presented using both PBR materials and Blinn-Phong (“legacy”) “fallback” textures / materials (I would recommend using a viewer supporting the former when visiting), OBSIDIA is both marvellously Earth-bound (the dark rocks mindful of a long-cooled volcanic outflow of the kind that might be seen in places like Iceland and Hawaii), whilst the EEP setting overhead combines with the landscape given the setting an otherworldly feel, a place where meteorite streak downwards as a gigantic version of our own Moon dominates the sky.

The Landing Point sits well back to one side of the parcel, not quite tucked under one of the two tall, slender ribbons of rock which separate the parcel from he rest of the region in which it sits. From here, before the entrance to a large structure housing a photographic studio and art gallery (of which more in a moment), arriving visitors are given a commanding view out over the setting and across the open sea bounding the parcel’s two remaining sides. The sound of surf pushing and booming against the rocky shoreline throbs through the air, a dominating presence alongside that of the huge Moon.

Across the desolate landscape directly in front of the Landing Point, a squared shoulder of rock sits between the sea and the familiar forms of three large shipping containers. These and the old water tower just beyond them, seem to help to further anchor the setting as being here on Earth; but then, rising beyond them, and standing somewhat silhouetted against the star-spangled sky, there rises the most curious of lighthouses which beckons the feet to come visit.

Approaching the lighthouse reveals that in order to reach it, it is necessary to climb that shoulder of rock and then cross a bridge. In doing so, this reveals the lighthouse is something of a steampunk / dieselpunk build, the structure partially embedded  in the cinder cone of an extinct volcano, a large engine under it holding it aloft and in place as it turns massive pusher blades. The lighthouse tower itself cannot be accessed, but the drum-like machine room connected to it can be, and a stairway winding up its flank provides access to the flat roof, where places to sit might be found. In a nice touch, the structure sits within its own parcel so that local chat conversations are confined within it.

The same is true from another coastal structure on the north side of the parcel. Taking the form of an elevated, glass-walled house, it offer another quiet retreat within its own parcel, complete with seating both within and underneath it. Between this and the gallery building at the landing point, sits a giant broken cat head. Whether it once stood here alone and complete or was once part of a larger statue is yours to decide; it appears someone is making an attempt to repair it, a scaffold having been wrapped around it, Whilst inside another seating area can be found. This head further reveals the feline element to the setting – cats very much having laid claim to it throughout

The gallery building is home to Nero’s art, at and the time of my visit was displaying Broken, an engaging series of six 3D nude pieces arranged in pairs across the floor of the gallery. These are engaging pieces in their presentation, the figures apparently suspended in Perspex (or glass, given its shattered appearance). No liner notes are  provided, leaving the individual pieces and the collection as a whole open to our interpretation.

With space found across the landscape, indoors and out (including the shipping containers), cats keeping an eye on everything, the sense of individuality within the setting gives it depth and a sense of warmth, whilst encouraging exploration. My thanks to Nero for the invitation!

SLurl Details

• OBSIDIA (Midnight Garden rated Adult)