Monthly Archives: April 2014

Last month, cloud gaming company OnLive introduced, in collaboration with Linden Lab, a new service named SL Go in the form of a public beta. The launch was announced through LL’s official blog and (sadly and unsurprisingly) caused a lot of drama that had to do with certain misconceptions about its pricing that should not have been there, but I guess this sort of thing comes as “standard equipment” with a frustratingly large portion of SL’s user base.

The SL Go website

The SL Go website

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paradise-lost-poster-3-rework-1

Having already covered the dress rehearsal and the press preview of the Basilique Performing Arts Company’s adaptation of John Milton’s famous epic poem “Paradise Lost“, I am now in a position to review it in as much depth as I can, given my own limited knowledge and understanding of the Arts and of the historical, political and religious context that influenced Milton to write his epic. Before I proceed any further, though, I could offer a single-sentence summary of the performance: You cannot afford to miss it.

In my previous posts, I described it as the most ambitious and perhaps the most important artistic event in Second Life and virtual worlds for 2014. Having watched the dress rehearsal, the press preview and the official premiere, my assessment still stands and I believe it to be strengthened even further.

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You Wear That Face, at the Assis Art Gallery

You Wear That Face, at the Assis Art Gallery

After the excellent premiere of Paradise Lost last night at The Basilique (review coming soon and suffice it for me to say for now that you really cannot afford to miss it), I had the pleasure today to catch up with Inara Pey at the Assis Art Gallery, which is hosted by Joaopedro Oh. There, four exhibitions are hosted for April. Three of them are 2D exhibitions; the other one, which caught my attention more, is an interactive 3D exhibit.

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Last Saturday (March 29th), I was one of the SL bloggers that had the privilege of attending the press preview of Paradise Lost in Second Life, the adaptation of John Milton’s famous epic poem “Paradise Lost” by the Basilique Performing Arts Company. I was already familiar with the way Becky and Harvey approached the poem’s plot, but I’m not going to describe it to you in this post; it would be giving away too many spoilers. After all, in my previous post I gave away some crucial plot elements and a brief look into John Milton’s political and religious views that influenced him to compose this poem.

So, this is going to be only a short review and not a full-featured one. Fittingly enough for the poem’s theme, the theatre for this show is a church – a basilica (hence the “Basilique” name chosen by Becky and Harvey for their art group). For a more technical overview, I think you’d do well to read Inara Pey’s post, as it explains the way Becky and Harvey applied RL theatrical direction techniques to the show. The action takes place not only in front of the audience, but also to the right, to the left and even above the spectators. Harvey said they’re planning to control the audience’s camera (like Tyrehl Byk does in his great particle show Catharsis) and I hope they’ll have the necessary scripts ready by the time of the official premiere, as the show will benefit greatly from this.

God creates Adam. Image courtesy of Canary Beck.

I have gone on record for saying that Paradise Lost is the most ambitious, and probably the most important, artistic event in Second Life for 2014. Everything about it pushes the technical envelope: on-the-fly costume changes (who said RLV is only for BDSM?), choreographed participation of the audience’s custom avatars that also switch between angel and demon, again via RLV, careful coordination of the animations of multiple avatars, scripted windlight changes… And that’s not even taking into account the extremely tasteful rendition of the poem and its characters. The avatars are gorgeously crafted and shaped, perfectly fitting their roles, the eras described in the narration and also their characterisation in the poem. The scenery is very well-designed, and the fade-outs between different sceneries are perfectly timed and executed (to the extent, of course, that each individual user’s computer can handle things). Furthermore, the decision to set the performance against Mozart’s Requiem in D minor proved to fit the atmosphere and the mood of Milton’s poem perfectly.

In all, I highly recommend that you watch this performance, even if it’s the only artistic event you’ll attend in Second Life this year. Even if you’re not artistically inclined. Even if you hear about classical works and turn away. The sensitivity, care, attention to detail, and love that has gone in this production has to be witnessed to be fathomed.

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Mona

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Full disclosure statement: I have been selected to be among the official bloggers for the Paradise Lost in Second Life production. I receive no recompense whatsoever for my blogging work; I cover the event because I believe in the talents and skills of everyone at the Basilique Performing Arts Company, because I liked the concept and because I want to help, with whatever powers I have, to show the creative and artistic potential of virtual worlds.

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