Tag: Soulstone

Valayra Asher (Valayra) has once again redressed her Full region of Soulstone, a region I’ve covered a number of times, and I’m always drawn back to it because Valayra tends to offer something very removed from the previous iteration, making any visit a entry into a new world and vision. This iteration is no exception, touching on Halloween to bring a theme of general horror and mystery mixed with a little post-apocalyptic or dystopian and flavoured with a very faint hint of Dark Knight stories.

Before getting into things, I will note that this is a location best viewed using a PBR-capable viewer or, if you’re still on an older viewer, then with Advanced Lighting Model (ALM: Preferences → Graphics) enabled.

If your system can handle them, then proceeding with shadows enabled is recommended; if your system cannot handle this whilst exploring the region as a whole, give it a go whilst inside the asylum, where you can also potentially reduce Draw Distance to help lighten the load the viewer is handling. Do also make sure you’re using the Shared Environment and, finally, please note that the south-west quarter of the region appears to be given over to a private residence, and is separated from the rest via a mix of hills and building shells, so avoid trespass there.

Located on the north side of the region, the Landing Point gives the first hint of the post-apocalyptic / dystopian feel to the setting as it lies on a partially destroyed road bridge. It’s not clear what caused the literal downfall of the bridge, but the local flooding to be found suggests it may have been the result of a natural disaster such as an earthquake. At the foot of the bridge the mystery of the setting continues: it appears the road once linked with one running from the east side of the region – but where they presumably once met has been turned into a caged basketball court with the appearance of having been placed there after the roads had been largely destroyed.

This basketball court with its razor wire, closed-circuit security cameras and the guard tower sitting next to it all give the setting a penitentiary feel; however, standing above them along the top of an eastern rise in the land is the foreboding bulk of an asylum. For me, it immediately brought to mind thoughts of the Elizabeth Arkham Asylum for the Criminally Insane. Whether this is intended or not, I’ve no idea, but a hospital for the criminally insane might account for the use of a guard tower, spotlights and the like.

The asylum sits as a the major focal point of the setting. The way to it is along the east-pointing section of road, littered as it is with the well-rusted wrecks of cars as they sit as the detritus of disaster. The asylum itself appears at first glance to be deserted – the main doors are wide open (as are other leading outside) and the windows smashed and broken, with further signs of chaos inside. Exploration here is best done with shadows enabled, so as to fully absorb the environment and the sense of stumbling around in the dark and coming across the unexpected.

While it is fair to say the asylum dominates the landscape, its multiple broken eyes staring out over the devastation below the brow on which it sits; it is not alone; others sit on the flat plain it overlooks, some of which, like the asylum, have managed to retain some vestiges of electrical power despite whatever has befallen them.

Broken and empty, a forlorn and empty swimming pool sitting before one block, these high-rises bear silent, shattered witness to whatever anger was unleashed upon this land; not even the glimmering neon of an advertising hoarding can disguise the fact that civilisation here has passed, living behind only animals, birds, and the shuffling shells of those asylum inmates somehow left behind in whatever evacuation may have taken place.

Yet amidst the ruin a little tram station sits, ostensibly in one piece, also sheltering under the dormant protection of the guard tower.  Where the trams arriving and departing this station might have come from or run to makes no difference now. Indeed, going on the signs hung from the pole of a working streetlight alongside the station, it would appear whoever survived whatever happened recognises this fact, given the destinations the signs list…

And speaking of signs / signage / graffiti, attention should be paid through any explorations, as there is a certain dark humour to be found throughout in the signage and scrawl, posters and adverts. Places to sit can be found scatters around, mostly in makeshift shelters out on the broken roads or alongside the fractured walls of buildings. They offer a chance for those who want to absorb the setting’s ambience and / or allow it to conjure stories of how it has come to be so devastated to do so in a measure of small comfort. Also to be found, large and small, are touches that might bring to mind a particular film about the aftermath of one calamitous event in human history – at least to me -, and others echoing the shuffling threat of horror from assorted films and televisions series (“Braiiins….”).

Finished with a soundscape well suited to both its devastation and mystery, this iteration of Soulstone is, as with previous builds, well worth visiting.

SLurl Details

• Soulstone (Enchanted Escape, rated Adult)

It was back to Soulstone, the Full private region held by Valayra Asher (Valayra), for me, and a place I last visited in February (see: A belated appreciation of Soulstone’s winter beauty in Second Life). Since that time, the region has once again had a make-over; this time bringing us a distinctly sci-fi setting which folds into itself an element of art visitors might appreciate – although I’m admittedly uncertain as to how long the setting will remain in place,.

The setting has a distinctly Star Wars feel to it when first arriving, the About Land even referencing Tatooine; it is akin to arriving within a district of somewhere like Mos Espa, containing as it does elements mindful of both The Mandalorian and The Book of Boba Fett. However, to say the setting is intended to represent any specific location on Tatooine or from the Star Wars franchise in general – films or streaming shows – would be a mistake. The look here is more general in nature, including as it does references and hints to broader media sci-fi themes.

The public area runs entirely up the eastern half of the region and also encompasses the north-west quarter. Separated from all of this by slender ridges of sand is the south-west quarter of the region, which is given over to what appears to be a private home. So, if I might borrow from another science fiction classic (if one that is terribly underrated due to its source material): “all of this region is yours to explore, except the south-west corner. Attempt no landings there.”

The landing point is located at the entrance to a bar – I hesitate to use the term “cantina”, as that word carries with it certain expectations given the Star Wars inspiration for the region, and the place inside the doors by no means seeks to replicate the place visited by a certain young Skywalker and his elderly companion. Rather, it has a look and feel – and touches of humour – all its own, with the humour starting at a sign bearing a “quote” next to the front entrance:

Trust me, you can dance.

– Alcohol

The bar is located to the north-west of the setting, which is the most sparsely populated part of the town in terms of buildings. One of these offers a touch of science fact to mix with the sci-fi, coming in the form of a holographic display of our own little dwarf planet Pluto (technically a Kuiper Belt object, thus causing its formal reclassification in 2006). This shares the space within the building with what might be regarded as the first of the setting’s art displays.

Outside, away from its covered entrance, a strange convoy of elephant-like creatures carrying what appears to be robots on their backs is passing. It form a more visible (on first arrival) statement of art, and one that occurs elsewhere in the setting as a kind of motif. It is also one which, at first glance, put me in mind of Haveit Neox’s work; although his is purely coincidental.

The caravan appears to be heading for the largest and tallest building in the setting, which forms a combination of art gallery and hotel, the former offering digital 2D art inspired by Star Wars. The latter offers multiple levels of accommodation of a form Tech 49 (or 52, depending on your point-of-view) Jack Harper might well feel at home within, given the general styling if not the overall presentation. Landing pads on the uppermost level offer what is presumably private parking for residents who need it for their spacecraft.

The hotel isn’t the only place with room for spacecraft. To the south sits a hanger / landing bay which, whilst in no way resembling it, brings to mind Peli Motto’s hanger and maintenance facility as most frequently seen in The Mandalorian. Close to this is a large, open landing facility sitting atop a flat rock, which offers a hint of franchise cross-over as it is home to a vehicle quite clear based on the Danube class of Starfleet runabouts (as particularly seen in Star Trek: Deep Space Nine.

Whilst this craft here is in no way representative of Starfleet or the Federation, it did remind me of wry comment on the part of one Major Kira Nerys concerning this much put upon class of vessel: “You know, the rate we go through runabouts, it’s a good thing the Earth has so many rivers.”

In terms of art within the setting, and in addition to the elements already mentioned, visitors might find pieces by Bryn Oh, Fresh3D (also responsible for the elephant convoys), DRD (Deathrow designs), Ini (in Inaka) – together with an accompanying 3D element stacked by Valayra, and Pira (Igor Novikov).

Also awaiting discovery is what is either a laboratory overseen by little rabbit-eared robots or what might actually be some form of medical centre (at least going by the red crosses on the gallery level beds (assuming the red cross is universally translatable!). A further reference to The Mandalorian can also sort-of be found here. In addition, some of the buildings include various figures from Star Wars, and walkers possibly inspired by the franchise can be found going about their business in the dusty streets – although they may at times have to duck to avoid the lasers which are firing up into the sky from next ground level in a couple of places.

Throughout all of this are numerous little touches that might help further delight the eye, whilst the default environment setting and the use of both local sounds and – here and there – media – further add to the experience. The setting also lends itself to custom EEP settings for those who like to use them, as I hope at least a couple of the images here demonstrate.

SLurl Details

• Soulstone (Enchanted Escape, rated Adult)

I’m going to start by saying that by the time some read this, Soulstone will have taken on a new guise compared to what is seen here. The fault for this is mine entirely; this Full private region – held and designed by Valayra Asher (Valayra) – has been in its winter guise for some time, but things being what they are with life in general at the moment, it has taken me a while to get from taking photos and jotting down notes to actually getting something half-way decent written up.

So, my apologies for that!

In its winter cloak, the region has presented an engaging mix of art, fantasy and a soupçon of science fiction. The landscape is split in two, thanks to a dogleg channel running through it, the sides of which suggest it may be artificial in nature, the walls formed by parallel lines of great basalt columns, one arm of which marches resolutely out to sea, leaving the land behind, to form a kind of breakwater.

Both of the islands are flat-topped, their remaining sides forms by natural rocky cliffs and slopes falling to the sea, with water flowing outwards from fissures here and there to cascade of the rocks below. Each island is home to a number of structures, but be aware that the small island with its well-appointed house and older lighthouse, appears to be a private residence, so please restrict explorations to the larger, L-shaped landscape.

The landing point is located in a gazebo of cathedral-like proportions; and like a cathedral, it sits head and shoulders above the rest of the landscape thanks to the shoulder of rock on which it has been built. Within it might be found a cosy hideaway and a series of teleport boards which can carry visitors to the major points of interest around the island. However, I’d recommend to those who read this article and make it to Soulstone before it temporarily closes on February 15th for redressing in readiness for spring, that initial explorations are carried out on foot.

The landing point shares the island with a warehouse-like building either still under construction or lacking in repair (you decide!) and a number of other structures which should pique curiosity. The incomplete warehouse helps to set the artistic elements to be found within the setting, being home to sculptures by Bryn Oh and Rogue Falconer, with further statues outside by DRD with other by Mistero Hifeng awaiting discovery.

The twists of sci-fi are humorously offered – H.R. Giger alien is collecting its order of cookies and hot chocolate from the café, pot-bellied “greys” have turned their flying saucer into a DJ hangout or are heading the local (and novel) swimming pool for a dip. There’s also a slight Orwellian slant in places as well, thanks to piles of television screens here and there keeping what seems to be a Big Brotherish watch on things.

There are several waterfront locations to be discovered as well. Some might require exclusive use of the teleport boards to reach, whilst others might be reached by stairways or paths hewn or worn into the rocky outer flanks of the island. One of the former passes through a most unique gorge: natural rock cliffs rising above the flat top of the island, the inner walls of side either bearing the façades of buildings as they escort the path down to the beach

Throughout all of this are multiple places to sit – and also the remaining locations to be discovered by the teleport boards (which you should return to and try after an initial exploration of the large island, in order to ensure you get to see everything). There are also numerous little touches of detail scattered throughout, some quite unexpected – such as the owls or the bicycles neatly parked in their rack; others add to the mysterious air of the setting – but I’ll leave you to hope across and find them for yourselves.

Quietly unique and eminently artistic and photogenic, this iteration of Soulstone will be vanishing from Second Life come February 15th, as noted – so do please again accept my apologies for the lateness of this article and, of you are a keen SL explorer and have not see it already, be sure to make the most of the remaining 36-ish house before Valayra and her partner close it for the aforementioned redressing.

SLurl Details

• Soulstone (Enchanted Escape, rated Adult)