In the course of my work (educational, creative and commercial) it is often useful to know the proximity of islands to each other on the greater grid. A cool full grid map was recently uploaded onto Wikipedia by SignpostMarv Martin and although some of the far right part is cut-off affecting a few sims, I found and labelled the following Oz Islands - The Pond, ABC, Cog, AFTRS, USQ, Marni, Riverina, Monash, Victoria Univ, Murdoch, Deakin, QUT, Griffith, Terra Incognita, Jokaydia, La Trobe Univ, RMIT, Regor (Aussie Land), Australia and NMC (US edus). Also note this is only about half of the full grid - there is an equivalent area to the left of this map but as no Oz islands were there, crop, crop

You obviously can’t read the labels on the map below, clicking will take you to the high rez version. Enjoy. Oh and if I have missed an Australian sim (or related to) please add in comments and I will update if I get at least 5!

Modified map is licensed under CC BY-SA 3.0

Although the distance between, or proximity to fellow inhabitants doesn’t really affect you operationally in Second Life it is nice to be able to just call up the map and in one quick hop, double click a neighbour’s sim to ‘pop over’, feels all communal and friendly. I tp all over the grid and meet anyone and everyone but it is nice to be back in Marni on a Sunday morning and just pop over to AFTRS, The Pond, USQ and Cog with a simple double click And there are many other benefits too, especially when adjacent, joined at the hip so to speak - over to you!

Categories: Australia, Bio World, Environments, Neighbourhood, Population, Second Life, Travel
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Second Life Gary’s Sim Marni 10, originally uploaded by Gary Hayes.

I have been so busy since October last year that I have completely forgotten to mention the island I bought. I did the sums and it actually worked out way cheaper for me to buy and island and divide it into four with three other friends. So Marni was born. Marni is an aboriginal word meaning welcome.

I terraformed the island with a large central and shared mountain space with 80m waterfalls with rivers and smaller hills separating the four quadrants. It is a very tranquil area and the images here are some building designs I did over 6 months ago! I hope to get time to finish some of them and add some more architecture in the ‘Sci-Fi Persian’ style.

The other three folk on the island are a wonderful immersive sound sculpture artist, a designer with his own company and an SL entrepreneur. I am sure they won’t mind you looking around.

Please pop along and have a look around. I am unlikely to be there most of the time, but you never know. In any event you are very Marni (Welcome). Heres the SLURL

Posted by Gary Hazlitt from Inside Second Life

Categories: Architecture, Building, Environment Design, Environments, Music, Music Experiments, Neighbourhood, Residential, Second Life, Sent In-World, Travel, Virtual Tourism, Virtual Worlds
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or sounding-out the Metamatic Neighbours

It’s been over a month now since myself, Jjason Jedburgh, Adam Ramona and Mashup Islander bought a sim together. It is called Marni and is attached to the south of Esperance and is now growing to be a great hive of artistic, business and social activity. I terraformed the island to give the four of us a great environment and some privacy for our various expoilts.

I have talked before about Jjason and his splendid architectural visions so now I wanted to interview Adam and Mashup (whose quarter sim plots are visible above) about their work and passion, real-time spatialised sound sculptures. I have been watching with glee as both of them get used to the possibilities in this world being relatively new to Second Life and create what I regard already as major, innovative pieces. Firstly a little about the Metamatic Collective piece.

Cantata Park 1 by Metamatic is an interactive, spatialised sound sculpture built in Second Life. The sculpture is made from 256 individual nodes in a 16 x 16 grid. Each node is embedded with a single word, triggered by a participant’s movement through the work. Each participant creates a random narrative, assembled on-the-fly, and in real-time. The work explores the possibilities of metaverse art, limitations of Second Life’s construction tools and scripting language, and the ability to appreciate conceptual art by proxy of an avatar. Cantata Park was produced in December 2006 Copyright 2006, Metamatic Collective

Adam and Mashup collaborated on this piece which is the first part of the interview below and then I met with Adam seperately to discuss five of his other works. We were also joined by Lisa Dapto, who is a close colleague of both of them. We met firstly at the site and then inside Adam’s self made garden retreat.

You: Who is the collective and what brought them together

Mashup Islander: The collective is Adam and myself for the moment. Adam was doing some funky 3D art on his land and I was inspired by this. I guess we found (Adam and I) a similar liking for abstract real-time art and decided to work on a project together

You: You mentioned that there are limitations to achieve what you want to in this world could you explain what these are in more detail for the readers

Adam Ramona: The technical limitations of Second Life are significant but this makes it a challenge, and often the best work is done in restrictive environments

Mashup Islander: It helps define boundaries for the work too

Adam Ramona: Relatively speaking the scripting language is an impressive achievement

You: And what are the benefits of this world for contemporary expressive 3D art?

Adam Ramona: Given the environment, collaboration is also a major plus of this space

Mashup Islander: Also the audience is large and open to new forms of expression

You: Yes I was going to ask about the methodology of collaboration how did it work for you both on the Cantata Park piece for example

Mashup Islander: It was really easy actually. Adam and I seem to think the same thing at the same time.

Adam Ramona: There are the usual teething problems getting used to the process but its a joy to be able to work collaboratively *within* the environment that the work will be consumed in.

Adam (left) and Mashup pose inside Cantata Park 1.

The work is now permanently installed on Mashup’s land and there are already many word-of-mouth visitors coming along to try the piece. I list some direct SLURLs at the end of both interviews for you to pop along yourself. I asked more about the background to the work.

You: What actually inspired the creation?
Mashup Islander: I was fooling around with basic prim sculptures and getting off on the whole ordered nature of basic 3D design. After a visit to an early version of Adam’s Bell Park, I saw a possibility to incorporate spoken words into the architecture. The randomness of each participant’s experience excited me and we explored some possible narrative structures before settling on a Burroughs piece, which was appropriate given the subject matter.

You: The 256 spoken fragments triggered by motion through them? What is the intention behind that and what experience is it meant to invoke?

Mashup Islander: Its a fractured narrative inspired by the Beat poets of old the actual passage is a Burroughs piece appropriate given the context

You: Each person has a different route through the piece of course - do you think there will be any shared experience?

Mashup Islander: Yes, the participant makes their own narrative and it was interesting just then with four users simultaneously that a layered narrative with many intersections can result. In specific answer to your question, I can’t put feelings into other people’s experience. Its up to each person to explore and take away their own assumptions

Above Lisa Dapto flys above Cantata Park 1 while Adam and Mashup introduce Pix (a visitor) to the piece. We talk more about the narrative, semantic elements of the work.

Adam Ramona: people make their own narrative always, and probably people who have similar outlooks will create similar experiences?

You: But presumably given that it is Burroughs excerpts there must be a common narrative that everyone can take away? Not completely random fragments

Mashup Islander: Burroughs believed all narrative had hidden meaning, each iteration of disassembly can provoke further insight and messages

Lisa Dapto: He and tristan Tzara before him were the lightning rods for the cut-up technique

Adam Ramona: Tzara was definitely about disassembling the dominant narrative

Mashup Islander: From paper, to tape recorder and now real-time 3D

You: I wonder if you see a kind of art renaissance developing in this world?

Adam Ramona: The art itself is thoroughly contemporary for me, it is a matter of using the medium for its strengths, and not trying to have it imitate some other medium. A new technology is always used first to do something that can already be done. Going with the native strengths of the medium as the basis for the formal decisions which makes it very simple to process. It’s the same thing with Hyperformalism if i understand DanCoyote Antonelli’s work correctly, it is using the ‘native’ qualities of the medium to make the formal decisions

Lisa Dapto: the involvement of the “audience” as co-authors of the work makes Adam’s and Mashup’s work fascinating and challenging, it reflects the ultimate potential for users in this world to generate their own scenarios

Adam Ramona: One of these “native qualities” of which i spoke is indeed the interactive nature of the audience/residents and this art is ‘for’ those people

You: Are you going to allow people to come and explore the work/s at this stage? If so can we publish the SLURLs?

Mashup Islander: Absolutely. The work is open for public viewing, with more on the way. Metamatic as an experimental playground for our artworks and we’ll be cycling new installations across both Adam’s and my land as they unfold.

So just for readers of JustVirtual a world exclusive a direct link to Cantata Park 1. Marni 205,53,25

Adam’s Place

I went back the next day to Adam’s quarter sim (which is actual adjoining mine), to talk to him in more depth about some of his latest pieces. I am particularly fascinated by the strong primary colours developing ‘over the hedge’ and the strange, exotic sounds floating on the wind across to my place. Adam has a rather unique appearance that I will save until another post, but below you can see him posed by his latest and greatest creation Anahat, The Mute Swan. You actually enter all these pieces by either teleporting in or just walking through and The Mute Swan is interesting in that it morphs from being attactive sculpture into a full surround sound and phantom prim experience. But I will let Adam explain.

Adam Ramona: The four pieces completed here are: The Bell Garden, Pure Absence, Anahata the Mute Swan, and the Blue one. (there is also a white one recently finished)

You: What would you say are the common elements between them all?

Adam Ramona: As we talked about yesterday, I would say their commonality is that they use the ‘native’ qualities of the medium to suggest the formal considerations of each piece.

You: As these are more sound and music orientated than Cantata Park 1, are there any common elements in the way you use sound in the pieces

Adam Ramona: Generally, I try to approach the work as an ‘audiovisual’ piece, and wherever possible apply the same formal rules to the sounds as to the visuals. It is not always possible, so sometimes the sonic formalities are decided through real life (ed: bio world for regular readers) considerations of a ‘music’ or ’sound’ basis. For example, the Bell Garden is in the key of E flat Major, just because I think that is an excellent key for a bell sound Once I’d decided that, then the manipulation of the sounds was the same as the visuals - no textures, just the geometry so to speak, which in sonic terms means a very dry synthesised, unadorned sound. I think it works well in the Bell Garden (ed: night pic below)

You: One of the remarkable things about all the pieces is the synergy between the visual and the sound - in that they are inextricably linked and reinforce each other. Could you talk a little about that process?

Adam Ramona: Yes, well I have always (since 1996 when I was first introduced to real-time 3D art) thought of this medium as a “composition” medium - in that previously when I was “writing” “music” I would have a very similar sort of thing happening inside my mind as a real-time 3D scene. I would have particular shapes with particular colours making particular sounds which were animating around in the space and when I saw VRML, i thought “yay, this is the medium for me!”

You: I notice that the five pieces here are all based around subtle variations of the same colour or tone - based on primaries like blue, red, white. Because you have graduations of that one tone is this because you don’t want the visual to overpower the sound?

Adam Ramona: Yes, this is the way I work. I think of each piece as a “song” if you like and just as you don’t put every note or chord into a song, similarly, the sounds suggest the colours (and vice versa) and they always end up being like this - graduations.

You: You have your pieces on show in a wonderful zen like garden and the works are indeed very powerful but meditative and tranquil to a great extent. Would you say you are about the balance between visual and sound so they are both, equally important.

Adam Ramona: Yes indeed, I would go further and say that I don’t really recognise any distinction between sound and vision

You: Ah very interesting and that would include I suppose the amount of authorship you give the participant in your pieces so they travel the sound and visual journey on their own path?

Adam Ramona: Yes, that is definitely part of the rationale of the work - these things exist almost independently of their consumption, a little like theoretical physics or something, and therefore, any mode of consumption, temporal visual sonic is valid.

You: We talked earlier also about many of these pieces being 4 or 5 art forms in one piece - sculpture, surround installation, performance piece, interactive and even architectural. Is this intended or a by-product or the medium?

Adam Ramona: That is this medium (RT3D) - these distinctions are valid in the real physical (bio) world, but not so in RT3D, so in that sense, I guess it is a by-product, but it is also an anticipated, welcomed, part of this medium in fact. That is one of the very main reasons why I like to work in this medium.

You: To discuss a level of detail. What is the difference in your mind between a piece that is triggered by the audience or one that they just move through picking up variations in sound level and direction, without triggering the various components within?

Adam Ramona: Not really any difference, other than a pedantic one in fact, you could say that a piece that is constantly sounding is actually only sounding when an avatar moves near it and in that way it’s always triggered by an avatar, but that is true of this entire medium.

You: If a tree falls in the woods and no one is around, does it make a sound?

Adam Ramona: You are right when you call it LOD, it’s the ultimate practical existentialism, because it literally doesn’t exist (for you) when you are not looking at it, unless the LOD has been coded badly

You: Very true! I always ask this next question and it is difficult to answer but are there any specific emotional responses that a viewer may get from some of these works. I noticed for example in the Mute Swan I felt much more relaxed and quite passive after a while whereas Pure Absence with it’s strong reds and high pitched sounds quite confrontational.

Adam Ramona: Good, interesting, difficult question. I definitely aim for an emotional response because I am emotionally engaged with all of my works and that is what leads me to create them. But as for audience response, I think it is tricky to second guess, but there are probably certain things you can aim for. For example, I am glad that you felt that about Anahata, the Mute Swan, because that is what I was aiming for, emotionally, an attempt to invite the audience to reflect on the nature of silence. In fact that piece specifically asks the question “If there is a sound playing when you are born and after you die, would you hear it?”

You: I was particularly struck by the combination of words and sound in that piece and it had more impact perhaps than the Cantata in the Park work because the words were more subtle, enigmatic and mysterious?

Adam Ramona: I’m very happy to hear that. I always try to keep them impressionistic, or as you say “equal to sound”, so that they represent more the signifier of meaning rather than meaning itself, and then the listener will more than likely provide their own meaning

You: One thing that you haven’t yet incorporated into your pieces and in this world it is a significant layer of course is our beloved ‘chat/IM text’ - is there a reason for that?

Adam Ramona: Yes, I did that in a bio piece, Scorched Happiness (2004), which was a multi-user VRML piece, where the chat text was typed live by the performers based on excerpts from the work by Julia Kristeva that formed the basis of the work. So, I am definitely interested in it, since it is a part of the medium but I would rather work out a way to make it similar to the way I use words that we discussed before, IE, without actual meaning, which is harder to do in text of course. But, now you’ve mentioned it I’ll get onto it straight away

You: Finally Do you think it easy to explain or recreate these works outside our environment or is that the basic point of formalism, that they are rooted here and here only.

Adam Ramona: Absolutely the latter in, of and for this medium. However, it doesn’t mean SL specifically, it means multi-user real-time 3D, of which SL is a very, very good example and one that is very popular and therefore provides and audience.

You: Finally, finally. If you had 3 ’sound feature’ wishes from Linden Lab (our creator!) what would they be?

Adam Ramona: Ah, yes, the first one is easy and obvious: generative sound synthesis in the SL engine should be simple to do, since they’ve already using Havok for physics. Second would be 5.1 out (as we mentioned before). Third would be increase the sample time limit to *at least* 60 seconds.

You: Totally agree with all of those and maybe much more control over sound spread. Adam, for now thank you, and as we are neighbours I don’t really need to say goodbye, rather look forward to hearing from you again very soon.

Adam is also happy for visitors to come and explore and discuss his works. This SLURL drops you in the middle of the Zen sculpture interactive garden and next to some teleport points to take you to the skybox creations. Adam’s place can be found at Marni 220,199,23

Posted by Gary Hazlitt from inside Second Life

Categories: Creative Collaboration, Digital Art, Environment Design, Exhibition, Experimental, Friends, Neighbourhood, Residential, Second Life, Sent In-World, Sound Design, Virtual Worlds
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In this world it is amazing what you find on your doorstep, literally. I have been building my sky platform at 400m over the past week and noticed just across the way a large, black monolith build. I was naturally curious. Little did I know inside was a complete city simulation, an under belly of bio society, for us avies to act out and role play both innocence and deviance. You can see how close this is to my land which has vertical elements of course - that is my sky pool, dance room and cinema. I visited the city at first by actually jumping inside from my sky platform and after a few visits quickly learned the secrets within.

I spoke briefly to Baal Zobel the creator (and author of the story text below) who said the whole build only took four weeks because the rich textures were all pre-prepared.

“I did the bulk in a week and just spent two messing with the details. I did have all the textures which is two thirds of the work. Its for other people to use”. Baal the name Meaning Master or Owner. In ancient times, Sun, Lord or God, A fertility deity, Son of EL, High god of Canaan. The cult of Baal celebrated annualy his death and resurection on mount Saphon where the children of Baal danced around the altars chanting frantically, cutting themselves to inspire his attention and compassion. The form, a mask, to face the world

He has an altruistic vision for his creation and this post will hopefully give you a feel for his dark, engaging and altogether immersive world. I visited several times and as instructed acted my part when confronted by a range of characters. Here is the welcome area and some of the instructions:

Welcome to Midian City. We hope you enjoy your stay. Enter, follow these, or never leave. STEP 1. Read the rules. Ignorance is no defence in the eyes of the MPD. Then grab a role. That’s STEP 2. You need one to RP STEP 3. Force Sun to Midnight. Midian City was made to be played in the dark.
Midian City Roles
Read the carefully to learn about the group titles available to inhabitants of Midian City, which will help you define your role and allow others to know your intentions. You should wear one of these group titles AT ALL TIMES while in Midian City. Reading the description of Midian City below will help you understand the roles and better choose one.

As you walk into the black mist door the city is slowly revealed as it fades out of darkness, you are on the main street.

Strange characters hide in the darkness, there are secret back alleys at all turns, the sound is deep wind, creaking doors, eerie.

Graffitti, decay and litter are everywhere - here is a description of the story world of this dark and dangerous place.

They say that Midian City never sleeps, and the souls that linger there never rest. The country ignores it, and the world has forgotten it; a foul example of what can happen when crime, corruption and decay finally take their toll. The accumulated sins of men and beasts have smogged the entire city into an unyielding night of shifting shadows and flickering lights. And at the dark heart of this forsaken place stands Sector 6.
In this deranged corner of the world, there is no hope, there is no laughter, there is no peace. There are only the hunter.. and the hunted.
The craven who have managed to tear themselves away from the Midian City’s sordid grasp with their sanity still intact have long spread their stories of the factions that rule it. More than gangs, less than brotherhoods, these factions form a delicate balance of hostile peace that keeps the city moving. Although, the direction to which it moves is anyone’s guess.

The story continues to permeate ones brain as you crawl in the sewers or get lost in the subway, metro station. When I descended onto the main platform once a man had cornered a lady, trapped on the tube train with him, he had a knife.

The story of Midian City continues:

They tell of THE HOUNDS; a spectrum of beings who live for the chase. In fact, without the thrill of the pursuit, they’d have no interest in their quarry at all. If you become the object of a Hound’s affection, it will step up to you and utter a single word: “Run.” Every fibre of your being will be inclined to escape, but this is a mistake, because anyone who’s encountered the Hounds will tell you this: they will chase, they will catch, they will play, and they will feast.
And they also tell of the SHADOW STALKERS; another spectrum of beings who take a different approach to the hunt. The Shadow Stalkers do not play games with their prey like the Hounds do. They wait in the shadows, and are behind every corner, under every fire escape. They are patient, they are determined, and when they spot a favoured prey, they pounce, grab, and drag it into the darkness with them. What happens after that is often unspeakable, even within the city itself.
Then there are tales of a gang of felines seldom seen on the streets, from which they are banned by law. These “CATWALKERS” can be found perched high above the city on the many catwalks, upon which they are forever roaming, watching, and waiting for a chance to pounce. They love to toy with their prey. Frequently jokesters and easily amused, they just as readily squash those things that come to bore them. They are jokers and night creatures and just love to play, just like the cats they resemble.

I visited some of the seedier areas of Midian, the snake pit dance hall and the various peep shows scattered around. All of them had an air of sex, danger and a lurking terror that made my wings crawl. I gave Erika the dancer a tip and made my excuses.

Women of the night are both prey and predators and they move in and out of the shadows. Occassionally the MPD, Midian Police, prowl the streets, keeping order but following their own laws. No one can be trusted. A scream is heard in the distance. After several wrong turns I find the twilight zone club. Larissa and Clarita jig the night away, off duty maids keeping an eye out for the vampires that frequent this dance hall.

After the club I took a wrong turn and got lost in the sewers.

The story continues:

And beneath the city streets in the maze of ancient decaying sewers stories tell of the NIGHTBREED. A gang of vampires and other dwellers in darkness that feed on the flesh and blood of their victims, those foolish enough to dare the dark slime covered tunnels where even the Midian police have lost control and seldom venture. Here in the cool darkness the Breed Queen suckles her brood, waiting for the night when she will leads them up and out into the streets to feed.
And at the top of the pyramid lies the MIDIAN POLICE, most currupt of all.. because at least the Hounds and the Shadow Stalkers are honest, the Breed and Cats are at least true to their natures. Although the smallest group of the faction, they are the self-proclaimed “elites”. Enforcing their laws on a whim and arbitrarily serving justice as they see fit, the Midian Police are suspected of connections to a rumoured underground cult to maintain their sphere of power. But nobody knows, they could be neither.. or something worse.
Midian City is a place of even further rumoured darkness, secret society activities, prostituition, cruel experiments, sinister motivations, and ancient evils that go beyond the base desires and instincts of the gangs, or the hedonism of the Midian Police.
Somewhere in Midian City, somebody knows the truth. But those who do aren’t telling, and those who don’t should do well to leave it alone.

One of the most terrifying areas I visited was the toilets and the Medical Centre with blood scattered on the walls and barbaric instruments on the floors. What deviance goes on here?

Back on the streets there are many dark alleys that only a black angel would dare. On the catwalks above the sounds of stilettos clunking on cold steel, a muffled shout and silence.

After all this excitement with heart pounding I try to find the main street again, the smell of death and onions and hot dogs fill the air.

For sanctuary the most social place in Midian City is the famous Sushi bar. It is here that lost lives are discussed, where the innocent newly undead and unaware visitors drift and face their demons. I sit and chat here with many residents of the city, the passers-by, all charmed and intoxicated by the potential of our own fears. I have met individuals who are totally engrossed in their role, who cannot remember their true avie character, who have been possessed by others, lost in the darkness. Others talk of unworldly happenings, some are looking for victims. Midian City, a place to visit more than once, but be careful you may never get out. Here is the obligatory SLURL to go there if you dare!

POST SCRIPT: For some reason only known to Baal he decided to ‘ERASE’ his creation, the whole city. This is a real shame as many residents were enjoying the experiences here. I hope he will reinstate it one day.

UPDATE Dec 06: Baal has rebuilt Midian City bigger and stronger on its own island, simply type in Midian City on the map tool and explore 4 times what I describe above!

Posted by Gary Hazlitt from inside Second Life - aaaarrrgghhhhh!

Categories: Architecture, Bio World, Deviant Behaviour, Environment Design, Environments, Neighbourhood, Role Playing, Second Life, Sent In-World, Social Experiment, Sound Design, Virtual Worlds
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Been away from SL for over a week and thought I would bring you all up to date with the bay area I live in.  The changes, the new residents and so on. (Here is a bio flickr set with on-going tracking of this Second Life neighbourhood evolving from nothing to very crowded). Firstly, and sadly, Heather and Max have moved to new pastures as the escort agency (see below) that moved in nearby was too much. She kept getting asked about her rates! But I am staying in touch with them as they have found a great new patch in Hokkaido. Anyway, so what is new in my patch - as if your really interested. But I did promise to keep you in the loop as the area developed from nothing a few weeks ago, remember, good. Well lots of new folk are moving in. Attracting a good wide selection. Sadly a club. No malls yet though. I did a quick Sunday morning one hour fly around (snoop) to see whats around and said brief hellos to those who were in-world - many are happy to do longer interviews later. Keep watching.

Close to me. Yes thats my place top left, is Koko and Ice. They weren’t around but in this world one can find much about the people via their profiles attached to the land. So a big traditional house of Ice Franchini and Koko Blackhawk. They met in SL and got married on the 19 Sep - will catch up with them later. For now

“Koko you gave me the most precious gift there is to give a person, your love and your heart and i will treasure them both till the end of time. You showed me I can love again and i do baby i love you so very much. My love for you will far out last this game in my heart you will forever be mine.”

awww. So a good traditional couple - at first glance. Anything is imaginable here. More later perhaps. At the other end of the spectrum we have a traditional escort agency. Xposed Escorts and their slogan “When you want only the best”. Ummm. Here is a pic of their boat and ground build. Wish some folk would finish the ground before they do the sky! The ubiquitous sky club pic follows.

Something more interesting is a very secretive build going on right in the bay below me. Under the water and a strange blue boxey thing growing on top, lots of furious build activity. Home to Inaria and the Avariel Winged Lords. Their mission and convenant.

Fun and Flight. Love and peace. To roam the skies. Rarest of the elven races, the avariel, the winged elves, live a reclusive existence, seldom seen by outsiders. Such is their scarcity and seclusion, that their status is almost that of legend. Despite an aloofness that can astound even other elves, avariel rarely exhibit the haughtiness and arrogance many have come to associate with elvenkind, though they pity all races lacking the ability to fly. They have little to do with other races.

As I write, Inaria Oranos (the Speaker of Winds) and builder friend KiVanyel Adria are busy designing a turret or two sticking out of the water. Like the furries (Kitsu’s) who built their underground burrow these Winged Lords are after a quiet underwater existance and I didn’t venture into their underwater lair just yet as they seem a private group. More about Inaria

“Daughter of mermaid and Avariel Lord. Raised on cliffs over-looking the seas. Apart of two worlds and made the most fun of it. Resides on the winds and in the water. Willing to help any soul who asks.”

To add diversity to this little patch we also have the lesbian (escort?) world of Olivia Marquette (sky platform above). She has built a tasteful, ancient garden with elements of Trompe L’oeil to add space. I said hello she is happy to do a long interview later. They also have a strange black sky platform, antithesis to the open gardens below. Now what secrets in there I wonder? For now here is Olivia’s profile to give some insight and a picture of the garden afterwards.

“I am a passionate, loving and caring Mistress. My heart is full of love and tenderness and I give this to my girls who deserve all the love I possess. Sometimes a switch, I can be delightfully submissive in the right hands. I have collared the beautiful and sexy Amelia Hainsworth (first girl), the lovely and adorable (beloved pet) Stacy Fuller, cute and sexy Kitti Meek and poetic Satsuyo Kinsei. They are my girls and I protected them and love them. Any problems with any of my girls IM me.”

Most of the above is very close to me, within 500m and on adjacent blocks of land. I have been lucky so far that my block of land (what some call a sim) has been quiet. Well there have been some additions on the far edges. First some furries I actually recommended this area too when they were looking around (have some pictures somewhere), Kitsu’s Korner, the furries on hill. They spent ages building a burrow so from the air you couldn’t work out there was actually a large space underground, see photo to the right. Then they built a castle. Still havent had chance to catch up with them, they are behind me over the hill, but perhaps some furry/vamp thing happening here?

Literally on the opposite end of the land I am on we have Ellies Home. Elly Crispien has set up a rental business for either the tudor mansion, a range of houses or the castle from $800-3000L pm. Good deal and a community spa! Not too laggy too. Lots of trees and no animations to see.

Finally just down the bay and on the peninsula we have a lot of activity. I will explore another time as my alloted hour is up for this but lots of people to speak to and exciting stories to tell. Obviously I need to get a life A third life perhaps…although still uncertain of what a 1st life is? Here is a pic of more to come, all further along the shore front in view of my once peaceful, uncluttered view.

Posted by Gary Hazlitt from inside Second Life

Categories: Architecture, Communication, Environments, Friends, Identity, Neighbourhood, Residential, Second Life, Sent In-World, Virtual Worlds
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