Tag: Exploring SL Archives

Following a poke from Shawn Shakespeare, I hopped back to Cathy Vathiany’s (zaziaa) ever-evolving region design Lost Dreams, which has had a further re-dress (and relocation), with a design that now exists in a region of two distinct halves, with several secrets awaiting discovery.

To the west, and with a north-south orientation, sits a very temperate-looking landscape which encompasses the landing point within a very rugged setting. This presents a pair of cliff-sides plateaux separated by a low meadow that is home to most of the local wildlife and spanned by a tall suspension bridge that picks its way over an inland body of water fed by falls dropping from a curtain of cliffs.

From the landing point sitting alongside a cobbled path, it is possible to walk path west and then north to where it runs down a slope to a set of steps to where a small waterfront town sits. This is a place of broad paved roads, a busy wharf and waterfront where artists of both the visual and performance kinds have found a home, and posters on the walls give the setting something of a French connection.

Following the cobbles south from the landing point quickly leads to the tall bridge and the southern plateau, a slightly wilder setting offering camping (or glamping, given the use of ultra-modern geodesic domes), with a hint of history with the presence of the ruins of a stone-built church. Winding across the plateau, the path runs down to a southern shoreline and a small island. Those wandering down to this should be aware that there is a rental cottage tucked into the south-west corner of the setting.

To the east, and again with a north-south orientation, the region takes on a completely tropical look. Separated from its temperate neighbour by a broad channel of water, this tropical environment can be reached via a broad bridge connecting the north-western town with a broad events space with café and fairground rides.

Beyond this, the sandy landscape points southwards – although again, be aware that the southern end of the beaches is again given over to a further pair of rental cabins – and these are not the only rentals here. Sitting off the east coast is an arc of tiki rentals, each on its own little sandy hump for those facing a holiday on the water.

Within these two environments, however is more to be found. Clues to this can be found in the form of a couple of teleport portals – one in the temperate one on the tropical – that are hard to miss, and more subtle teleport disc scattered around. Find the right one, and you may be transported under the waters to a sunken gardens, or another to find yourself in a skyborne multiple-room lounge that has – for those of a sensitive nature – a decidedly adult theme (although other adult, umm, pointers, can be found floating on the beachside waters of the intervening channel between the two halves of the region). While sitting over those waters is a cliff side house that – I believe – is open to the public, although access is somewhat restricted.

There are also multiple touches of detail that await photographers – not that the entire setting is in any way unphotogenic; but small details are often what bring a place to life; so these are worth looking out for. There are also curious dichotomies within the region. Take the town for example: it offers something of a European tone with a pub, outdoor café, the street performance, etc., – and then sitting on the streets is a pair of stagecoaches right out of the American west.

Compared to past versions of Lost Dreams – and Les Reves Perdus (“Dreams Lost”) before it – this iteration of Cathy’s vision is very different in tone, simply because of the way it offers that temperature / tropical split whereas past designs have tended towards just the one overall theme for their setting, be it Nordic, temperate, tropical or pastoral. However, it is clear Cathy has taken extraordinary care to make sure the two sides of the region work both as individual settings and as a united whole, with equal care being taken to keep the rentals sufficiently apart from the public spaces so as to minimise the risk of intrusion from public to private.

All of which makes for another engaging visit.

SLurl Details

• Lost Dreams (Creative Hearts, rated Adult)

Bo and Una Zano (BoZanoNL and UnaMayLi) are back with a new Homestead region offering which is an absolute joy – as one might expect from Bo, who is justifiably held in high regard for his Elvion region designs.

Having opened in March, RockMead offers a wonderfully delightful setting that contains within itself shades of Elvion whilst offering an entire unique environment; a group of islands rich with the sense of spring and summer; a place where horses roam and stags and deer keep an eye on things on land, whilst heron watch over the waters and birds give the air song.

This is a setting that could easily be wherever the mind cares to fancy, northern or southern hemisphere; although that said, the beaver present within the setting do perhaps suggest this is a place far more in the northern hemisphere than the southern. The islands making up the landscape sit as something of a nested family: one of the two larger isles sits cupped in the arms of the other, a small isle sitting as home to the landing point held gently between them.

The landing point sits tucked into the south-east of the region, leaving the rest of the land spread before the visitor ready to be explored. Little humpbacked bridges span the waters as they divide the the landscape, connecting the dusty trails that cut across the low-lying lands to offer routes for wandering feet. The only man-made exceptions to the stone bridges are a pair of wooden walkways that span the channel splitting the westernmost island from its brethren.

A long, slim finger of grassland topped by trees, this western isle is the most “private” it terms of its position sitting beyond the widest channel of water and partially hidden from the rest of the region by low hills. To its northern end sits a little sandy area – not a beach per se, but a place secluded enough to offer a little romantic setting at the water’s edge, reached by passing under a natural rocky arch.

At the southern end of this island, the beaver mentioned above are busily creating a dam – one perhaps sufficient enough to cause the waters to spread behind it and offer more of a protected place in which the local geese can swim.

A single homestead occupies the land, sitting on the large L-shaped island. It is a simple affair, partially ringed by dry stone walls, its rough-hewn frame and walls topped by a roof that has in turn been covered by turf to provide an extra layer of insulation, suggesting this is a place that can get cold in the winter months.

Sheep graze on the grass in front of the cottage, whilst from its overhanging front eaves it offers a view across the last of the islands, a place set out for horse grazing and marked by a single ruin; that of a former brick-built house that now sits at the edge of slowly-encroaching waters, the fence alongside it already partially submerged.

Pastoral in tone, RockMead is a place where the beauty runs large and small; from the overall design of the region through to the little birds waiting to be found here and there. Horses roam their field and take the occasional nap; geese swim the waters and pass overhead, whilst at least one familiar little character from the Elvion builds is watching over the landing point. It is a setting that is genuinely relaxing in look and feel, neatly rounded out by an engaging sound scape.

Another superb build from Bo and Una, and one that should be savoured by all, Those wishing to rez props for photography can join the local Group in order to do so – but please remember to clean up if you do.

SLurl Details

• RockMead (rated General)

Recently I was asked by a friend in Second Life if I knew of any good holiday resorts in-world, a question that had me thinking; while over the last few years there seems of have been a upsurge of vacation-style destination venues in SL, I’ve rarely covered them in this blog (partly, I’ll admit, because of unfortunate experiences in a couple) However, the question came on top of me also learning about a relatively new such destination in world, and it prompted me to hop over and take a look.

The destination in question is Badu- Egypt – Aswan City, a place which offers a mix of public spaces and more private opportunities for vacationing and touring, with a mix of activities that can be enjoyed by visitors as well as by guests availing themselves of the vacation opportunity.

Operated as (at the time of writing) the latest destination presented by AshaRhia Resident as a part of her Asha Destinations SL Travel Agency, Badu – Egypt is currently set to be open for at least 2 weeks (starting on March 25th), with a potential for this to be extended to up to four weeks, depending upon its popularity. Like Aswan, it mixes two faces of Egypt, ancient and modern, into a single location, offering visitors the chance to learn about some of the history of Ancient Egypt whilst also being pampered.

The two halves of the region are divided by height., with the ancient Egyptian elements occupying the land just above sea level, and the luxury amenities of the hotel sitting on a plateau above them, a layout that keeps them nicely separated while maintaining their relationship via the interconnecting steps leading from one to the other.

The ancient Egyptian elements of the region are located on its east side, and laid out in a north-south orientation. To reach them from the landing point follow the path around the base of the cliffs and pass the steps rising to the hotel area. They are dominated by the bulk of a vast temple, that sits with a chariot racing arena as a buffer between it and the rest of the setting, whilst containing what is very much a modern museum. Here, visitors can find images and information cards on multiple aspects of life and society in ancient Egypt, encompassing the lives of Pharaohs down to those of humble farmers, and incorporating elements such as clothing, jewellery, wigs, etc., with the temple itself offering a huge sense of space, wall frescoes, and a nod to the importance of water to the Egyptian civilisation.

South of this and the chariot arena, is a more desert-like landscape that offers a feel of the great pyramids of Giza coupled with the ancient ruins of somewhere like Thebe. Together with the more pristine building to the north, these serve to give visitors a good sense of Egypt’s long history through the ages without being tied to a singular period.

The upper area of the region presents a luxury resort complex, split between public and private areas, with the former taking up the central part of the resort and comprising with a front desk, swimming pools, the treatment spa, etc., all of which can be enjoyed by the casual visitor. The seven private suites border this to either side, all clearly delineated from the public areas by their frontage while offering a luxury stay for guests.

The larger of the suite designs present lower floor lounge areas with adjoining kitchen and dining areas, an upper TV lounge area,  private terraces (one with a hot tub), and a separate sleeping wing with lower floor grand bedroom with dressing room and bathroom, and an upper level with two further bedrooms and shared bathroom. The smaller units, located around the front desk and the hotel’s bar, offer single-floor accommodation with a more open plan approach to living, dining and kitchen, with a separate bedroom and bathroom, and each has a single terrace with hot tub, they also share a communal poolside lounge.

Guest / visitor activities take various forms, including Afrobeat dance classes, a quest, chariot racing, pottery classes and basket weaving classes (all role-play) – non-guests can participate in these for a fee of L$500, with details of times, etc., available at the front desk. Spa treatments and fine dining (both again role-play) are also available, with prices available to non-guests at the front desk. In addition, guests and visitor can join a guided tour of the Abu Simbel Temple Museum.

Badu- Egypt – Aswan City is a setting that has been brought together with a great deal of care and thought for visitors within to experience the fullness of travel to a destination within Second Life. The region is well laid-out, clearly signed, and there is a lot on offer. Fees, as noted, can be found at the hotel’s front desk, and vacations can be booked through the associated website, via the bookings page.

Given all this is available within the region, it can take its toll on the viewer; therefore those on low-to-mid-range systems should (as I’m prone to note in these situations) be prepared to make some adjustments to their system if they encounter problems. However, this should not put anyone off taking a trip to the region and seeing it for themselves!

SLurl Details

• Badu- Egypt – Aswan City (Origins 1, rated Moderate)

I recently received word from Natalie Starlight that she and Nessa Nova have been re-working their Lost Unicorn estate, together with an invite to drop in for a visit.

I just wanted to let you know that we have brought back an all new Lost Unicorn (forest)! Nessa and I both missed the magic of the old sim with the elves, unicorns, mermaids, etc. We’ve added much of that back and are also currently working on a new Storybook area behind the gallery on the other region!

Just thought you might want to stop by when you can and see the changes.

– Natalie Starlight

Given how much I’ve enjoyed previous iterations of the Lost Unicorn builds, I made sure to hop over and take a look.

Lost Unicorn has always offered a special delight for me ever since my first visit to it, the gallery and the delightful and the soon to return (as Natalie indicates above) Storybook, some four years ago. A dreamy and mystical elven realm shrouded in mist, the home of fairies, centaurs, unicorns and more, Lost Unicorn has always been a rewarding visit, with much to see, photograph and simply enjoy whilst following the paths and trails that wander through it.

With this returning, Natalie and Nessa have fully recaptured all of this richness and beauty found in earlier iterations of the region, and wrapped it all in something new but just as engaging.

From the landing point towards the east of the region, visitors can wander as their moods dictate. Take the path down from it and across the bridge and make your way up to the high castle as it commands a view across the region towards the (under reconstruction at the time of my visit) Lost Unicorn Gallery.

Or you can go by way gazebo and path around the base of the peak on which the castle is built with where another bridge spans a gorge to reach a fair elven home and stairs spiral up around the trunks of giant trees and span the air by means of further bridges to again offer a means to reach the high castle, passing by way seats and games a free houses along the way.

Those who find there way down to the valleys and lowlands shaded as they are by the richness of boughs from the forest will find more paths and trails, some in shadow others lit by streamers of sunlight falling through those same boughs, all leading to points of interest and beauty. Some of these – such as the gardens with the piano, ancient walls and sakura blossoms – may be easy to find; other might be more hidden, requiring a trip away from sunlight altogether and into caverns old; still others might be said to hide in plain sight – should you have the eyes to see them.

For those who don’t there are experience-based teleport portals waiting to carry visitors directly to points of interest – but again, finding these is all part of the broader experience of discovery. All I will say is that at the feet of bridges, secrets may be found. Nor, in fact does everything necessarily lie either above or below ground.

But the truth is, wherever your feet take you within Lost Unicorn, you will find something to captivate, be in elves, fairies, art, mermaids, centaurs, animals – or simply a place to sit and past the time, listing to the ambient soundscape and perhaps the notes of the piano drifting through the trees.

SLurl Details

• Lost Unicorn (rate Moderate)

 

Sometimes playing pot luck with Second Life’s Destination Guide can result in the most unexpected visits. Recently, for example, I riffled through the DG and ended up dropping into a pair of builds by Mitch Charron; both are located within the same region and both offers their own sense of history, albeit in very different ways.

The first of these is a genuine page from history and takes the form of HMS Iron Duke, the flagship of the British Grand Fleet operating out of Scapa Flow in the Scottish Orkneys during the First World War. Sporting no fewer than 10 13.5-inch guns, Iron Duke and her four sister ships were, for a short time following the outbreak of hostilities, the most powerful warships in His Majesty’s Royal Navy. In 1916, three of them participated in the Battle of Jutland, the only major clash of battleships of that war – and the last major naval engagement fought primarily by capital ships before aircraft became the main offensive weapon in naval warfare.

Within Second Life, Iron Duke is offered as a WWI role-play environment, the vessel appearing to be moored within Scapa Flow. The landing point in on her main gun deck, close to the aft superstructure that mounts one of the ship’s massive twin turrets of its main armament. This superstructure provides access to the below decks areas where can be found offices, the main mess deck for ratings (complete with hammock rigged over the tables and benches), the officer’s mess with it modest comforts, etc.

Forward of the landing point, past the midships main turret, it is possible to reach the armoured steering house and the flying bridge with its charthouse that rises above the forward superstructure. Other details include the vessel’s casement-mounted secondary guns, her steam tenders and general deck details that match available drawings of the ship for the period 1914-1919, all of which make for an engaging visit.

Located high above the mists of Scapa Flow, meanwhile, sits another location risen of the history of television. Located within the magnificent desolation of the Moon’s surface over which a (rather large) gibbous Earth hangs, is the grey bulk of Moonbase Alpha, a place made famous  – and most media sci-fi fans will likely know – by the 1970s live-action TV series Space: 1999, created by Gerry and Sylvia Anderson (and the last production in their partnership).

For those who aren’t familiar with it, the series focused on the plight of the inhabitants of Moonbase Alpha, a scientific research centre, after Earth’s Moon is blasted out of its orbit – and out of the solar system – on September 13th, 1999 courtesy of a massive nuclear explosion. While we now may be looking back at 1999 knowing this never happened, at the time it allowed the series to offer the 311 people stranded on the wandering Moon to partake in numerous adventures (some of them very hooky) in deep space.

The series drew inspiration from some of the production designs seen in Stanley Kubrick’s 2001: A Space Odyssey and this is very much in evidence within Mitch’s design, presenting as it does various interior spaces of Moonbase Alpha, all of which are intended to offer a free-form role-play space for those wishing to get involved.

Those familiar with the TV series will instantly recognise what can be found here, from Main Mission, the station’s control centre dominated by the base commander’s large desk, through the plastic-walled corridors to the recreational facilities, the medical centre, the science labs, crew quarters and even a travel tube car. Corridor intersections include the show’s iconic communications posts, while out of the landing pads a (possibly more iconic) Eagle Transporter awaits lift-off.

The interior of an Eagle forms the landing point, with a loading door accessing the travel tube (and thence the rest of the station), while the computer panel to one side of the Eagle’s pod offers teleports to the ground-level sights within the region, which may well be the subject of a future visit. Other teleports will deliver people to some of the outlining facilities around the core of the base.

From reading the notes (provided via the Communications Posts), I understand the station is to be extended, and custom props are to be developed and supplied to those involved in RP within the setting. The role play itself is apparently set some two years prior to the events of the TV series, meaning the station in not under the command of Martin Landau’s John Koenig, but will progress to that fateful day in September 1999. Anyone who does fancy becoming an Alphan should contact Mitch Charron directly.

I’ve no idea how much actual role-play goes on at either location, but for the historically-minded, Iron Duke makes for an interesting visit. Moonbase Alpha is a very credible reproduction of the environment from the TV series – so much so that I wouldn’t have been surprised if Nick Tate’s Alan Carter had stepped out of the cockpit of the Eagle interior landing point.

Both Moonbase and battleship make for very eclectic visits, but both offer multiple opportunities for photography, (although the battleship could perhaps benefit from the use of materials to help bring the texturing to life, land impact allowing; it also would also perhaps be nice if the ship had an information giver similar to the ones at Moonbase, but this is a minor quibble.

SLurl Details

Andorra is rated Moderate.

• HMS Iron Duke
• Moonbase Alpha

Back in late 2021, I revisited Lam Erin’s Cherishville, which at the time was dressed for winter. Unfortunately I didn’t blog about it at following my visit for assorted reasons, and by the time I did hop back to refresh my memory, I knew I’d be better holding off until the region had been redressed for 2022. So when Lam re-opened for spring 2022, I made sure to hop over at the earliest opportunity, and this time make sure I completed a write-up, even though by doing so, I was leaving almost exactly a year between covering Cherishville in these pages.

At that time of my 2021 visit, Cherishville presented a coastal setting that perhaps leaned towards being somewhere in North America more than, say, northern Europe (although it could perhaps have been part of the latter). For this year’s spring, the setting shares some of that past life; it again has a waterfront area, this a little more established than in 2021 in terms of the working buildings that back the wharves, although at least a couple of the the boats also offer a link back to that former build.

However, this time I’d say that we I to hazard a guess as to where this iteration of Cherishville might be were it to exist in the physical world, I’d likely point more to Europe and perhaps the Baltic coastlines of the northern European counties, simply because of the overall styling on buildings, landscape and vehicles. Although that said, there are elements that suggest we could be in North America, perhaps somewhere around the great lakes, rather than on the coast.

To the south of the region a single-track road loops around a small town nestled on the upland to the region, the upper reaches dominated by a chapel with what appears to be a rather extensive manse sitting alongside it, the tall tower of an ancient stone gatehouse sitting just across the intervening passage of the road. Down slope from these, the houses and shops are partially furnished to give them a sense of depth and life from the roadside, but the chapel and the buildings around it that share the hilltops are shells, their presence also giving depth to the setting but without burdening viewer with yet more to render.

The land to the north of the town is largely flat and broken by the passage of waters that drop from just below the town to cut a broad, rocky path north and west until they meet a substantial opponent in the form of a humped rise of land which forces them to branch west and north in order to reach more open waters, which a further, narrower channel even tracking back eastwards.

This narrower streams splits the region’s northlands into an island on their own, home to large, wood-build house that sits upon it as a further empty shell reached by a single, frail-looking bridge. The L of the house are positioned so the wings look west to the low, stubborn hill that forces the river’s waters to split, and the windmill that sits upon it, sails turning lazily. Reaching this windmill most directly is best achieved going via the wharves on the region’s west side. However, at some point in the past, it appears some started putting together a very makeshift bridge to cross the rocky waters between house and hill, leaving it unfinished and apparently abandoned.

Extending northwards and bounded on one side by the broader passage of the river whilst end at the banks of the east flowing stream, is a tongue of land, a branch of the single-track road winding into it. Here, guarded by the dropping arms of weeping willows and the hunched forms of aged trees, is a place given over to festivities lights having been strung from a central raised post to a ring of posts surrounding it. Caravans and makeshift shacks have been circled here, tables and benches of food and drink scattered between them in readiness for music and dancing. All that is missing are the revellers themselves, frolicking through the knee-high grass – although even without them, the imagination conjures the sounds of bows and penny whistles giving life to a happy tune.

This is a setting that has been put together with the photographer in mind – hardly surprising, given Lam is himself an accomplished landscape photographer – with details large and small awaiting discovery and lending themselves to lens, angle and lighting, all set under a spring sky with clouds lit by the Sun. For those who love photographing SL architecture, there is particularly a lot to appreciate within this version of Cherishville, as I hope the images here show!

That said, the very fact there is so much detail packed into the region means there is a lot for the viewer to tackle, particularly if you’re running with settings at the high-end for photography and are not on a high-end system. At the time of my visit, there were also some rough edges that could do with some smoothing as well – some elements floating in the air, some prims / mesh elements with overlapping textures (the stone courtyard around the chapel, and part of the waterfront area), a car sitting somewhat sunken in the road; but these can be ignored with suitable camera angles (if noticed at all), leaving the region ready to be appreciated.

With thanks to Shawn Shakespeare for the reminder.

SLurl Details

• Cherishville (Neomah, rated Moderate)