Latest news with #BeneGesserit
Time of India
4 hours ago
- Entertainment
- Time of India
Dune Awakening Bene Gesserit guide - Builds, best abilities, tips, tricks, and more
Image via: Funcom Bene Gesserit in Dune: Awakening provides a compelling combination of nimbleness, influence, and exactitude that position them as one of the most tactical and rewarding classes to learn. While they're not the first trainers you'll encounter, choosing them as your initial house selection grants you instant access to their unique abilities, most notably the elusive Weirding Way and The Voice, right from the start of your long adventure across Arrakis. Here's how to unleash their tremendous power, particularly in those vital first 20 levels. The Bene Gesserit Philosophy : The Philosophy of Power, Control Via Precision Unlike brute-force Troopers or resource-driven Planetologists, the Bene Gesserit work with finesse. Their gameplay loops focus on flurries of haste, stagger syncing, and brain melting opponents with powers such as Compel or Stop. They excel at baiting their opponents into one-by-one confrontations, often in solo dungeon runs or PvP duels. At their best, they benefit those players who choose calculated restraint over reckless abandon, creating a class that feels great for players who prefer cerebral, strategic action. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like The price of dental implants may surprise you Dental Implants | Search Ads Search Now Undo DUNE AWAKENING BEST BEGINNERS GUIDE! Tutorial, Tips & Tricks! Detailed Core Build (Level 1–20) Essential Skills & Competencies Bindu Sprint (Weirding Way Productions): Your speeder-vehicle escape from the Death Star trenches. Not only for fighting. Here's your solution to sandworms, heatstroke, and ambushes. Foundational. Compel (The Voice): Pulls enemies in towards you and stuns them briefly. Great target practice for getting the mobs out of your face and getting your targets isolated. Shigawire Claw (Trooper): Once a Trooper-exclusive tool, this grappling ability grants essential vertical mobility and even staggers enemies upon contact. Strategies to Implement: Manipulate Instability: It manipulates insecurity and increased damage against staggered foes pairs hilariously well with Shigawire Claw or Compel. Trauma Recovery: Increases health regeneration, allowing for longer fights or more easily roaming the desert between oases. Prana-Bindu Stability: Increased stagger resistance, allowing you to stay on your feet and keep going. Best Passives Getaway Artist Recovery: Central to your survival in the sandy wasteland. Sun Tolerance: Very important for open-world desert-style survival. Arrakis is a harsh mistress. Blade Damage: Short blade ability amplifies your melee lethality when paired with a short blade. Vitality : More base health means more Blizzard designed mistakes you can afford while learning. Self-Healing: Efficiency can be the difference between life and death when water is limited. Recommended Armor and Weapons Your first objective should be to get the Pseudo Pulse Sword, which you can find in uncommon chest containers within Imperial Testing Stations. Magic is the only Iron-tier weapon, but its damage still outclasses some Steel weapons, and it slides into the fast, reactive Bene Gesserit playstyle beautifully. Looking for something? Begin with a regular Iron sword and move to the Artisan version as soon as you can. Isolate First : Compel or Stop, use Compel or Stop to isolate enemies. This isn't a class that's meant to be designed for persistent open-world fighting—choose your conflicts. Chain Mobility: Combine Bindu Sprint and Shigawire Claw for a speedy in-and-out assassin loop. Don't be a tank, think like a ninja. Use Terrain: Verticality build the height into your design and maximize it. The claw offers high ground, cliff escapes, and surprise angles. Balance Ranged and Melee: Despite all of the melee buffs, don't forget about your ranged options. Some passives address both, and intelligent switching between weapons types through smart swapping grants you versatility in dungeons and events. Dune Awakening ULTIMATE Beginner's Guide! Early Skill Path: A Clever Move Bindu Sprint: Escape tool, expedition, movement accelerator Add Recovery & Sun Tolerance: Survive Arrakis, not just your enemies. Invest in Compel, then Weirding Step: Control and finishers. Round out with Blade Damage & Vitality for durability and power. lThe Bene Gesserit class isn't focused on pure brute strength, it's designed around controlling the tempo of a fight and surviving in tough environments. Their early-game potential is huge when crafted properly, and their kit is best suited for players who love tactical depth and going lone wolf. Conquer them and you won't just survive Arrakis, you'll control it from the shadows.
Yahoo
2 days ago
- Entertainment
- Yahoo
‘There's an epic nature to this story': ‘Dune: Prophecy' star Emily Watson teases travels to Arrakis for Season 2
In its first season, Dune: Prophecy explored the Imperium and the foundations of the Sisterhood that would become the powerful Bene Gesserit 10,000 years before the birth of Paul Atreides. At the cornerstone of that foundation stands Valya Harkonnen. As played by Emily Watson on the HBO series, the Mother Superior is a powerful and uncompromising leader, doing everything she can to secure the future of her Sisterhood. More from GoldDerby Kaitlyn Dever on playing 'horrible' characters in 'Last of Us', 'Apple Cider Vinegar': 'I just don't see any other option but to give 100 percent' How the longtime 'Severance' cinematographer wound up directing Season 2's standout episode 'We could do this show forever': 'Somebody Somewhere' creators on final season, heart, and the humor of Bridget Everett By the end of the series' first season, Vayla found herself on a new planet, but one very familiar to Dune fans. Gold Derby had the opportunity to speak with Watson about playing Valya and what lies ahead for her as she ventures to Arrakis in search of the enemy who could destroy everything she holds dear. Gold Derby: What was your familiarity level with the world of coming into this project? Emily Watson: Minimal. I had seen the first Denis Villeneuve movie, but then went on a very steep learning curve. I'm glad I didn't know that when we set out on that journey, the level of fandom — not just the lore and the detail of it and mythic nature of it — but also the sense of ownership of what the interpretation should be. There's a very heartfelt, passionate voice out there, people who know and love this world. How much did the depth of this fictional world help your process? Or did you avoid knowing too much? It certainly helped up to a point. Obviously, you have to respect the material and learn as much as you can. We had a very helpful team of people helping us digest material and pointing us in the direction of pieces of research and pieces of the books that would be useful. I wasn't going to sit down and read absolutely everything. At the same time, as with any part, you have to go on your own imaginative journey with it and make it — in a very strange and alien universe — as human as you can. What were you first impression of Valya once you were able to read material from the show? Very messed-up, very tough, very damaged. Very, very driven in the sense of the ends justifying the means. The end to her is righteous. She's in the business of saving the universe and saving humankind. She basically founds a cult, and cult leaders are very charismatic, persuasive people. They pit young people in competition with each other to be the most zealous. It's a sort of recruiting tool — telling people they're special and that they're the chosen ones and that they can save the world. It's the beginning of a myth. It's the beginning of thousands of years of creating a myth. Which aspect of her character appeals to you in how you approach portraying her as an actor? I love the idea of going into the world of science fiction and superpowers and all of that. But with Valya, all of her powers are in her mind, so the actors are doing the heavy-lifting. It's about mental prowess and having to be very, very present, in-tune with people, and hyper-aware. I like the mental discipline aspect of it. How much consideration did you give Charlotte Rampling's performance from the Villeneuve films? Or did the 10,000-year gap free you up? Absolutely, that 10,000-year gap is liberating. Thank God! At the same time, I do think she's iconic. She's an incredible presence and an incredible actress and so powerful. For our job, that's a direction of travel, but at the same time, with the way that our story was structured — going back to when these character were young and how they began to travel down this path and the unformed nature of what they're doing and the vulnerabilities that they have — it's showing a different arrival point. Was there any framework for you and Jessica Barden (who plays the younger Valya) to synch up your performances? Or were you just relying on the writers? Strangely, we had visions of spending time together, but the strike meant that it was not to be. We did talk. Once I started talking to her — her sense of fierceness and rawness — I felt lucky. To have someone portray your past in such a vivid way, it does an awful lot of the work for you. To arrive at Valya in place where all that youthful wildness is being control and put to a purpose, it felt like a nice journey between the two of us. What was it like to get to see her performance finally? It was great. It was thrilling. It made me nervous. I had seen [the younger actors] around, but we didn't have any scenes together. Seeing how those youngsters created that early world was fantastic. It seems possible within the world of the show that you could eventually be in a scene together. I know! I was saying that her the other day. "I wish we could do stuff together." But there is an awful lot of scope for doing whatever you want in this universe. How does thorough world-building in the production design affect your performance? It immediately gives you a sense of place and a sense of status. Again, it does a lot of the work for you. Those costumes were very powerful, feminine, and dark. Wearing a veil, in fact, I found thrilling. It's like wearing a mask. It's liberating because you can project a different kind of power from behind a veil. I love that. But also, the sets were breathtaking. Every time we went onto a new set, it was really shocking how big and powerful they were. It was awe-inspiring. There's an epic nature to this story. It's a vast universe, spanning many worlds. You don't have to work to reach for that. Valya's sister, Tula (played as an adult by Olivia Williams), is the closest relationship she has, but the two character spend most of the season apart. What was it like trying to bridge that gap and sell the familiarity? We have enough time together to establish that. Olivia and I are different kinds of actors, but we very much come from the same stable — theater and Shakespeare — with an understanding that you are taking a particular part of the story and serving that. Knowing that they were connected in their mission and what they were trying to achieve, although very far apart from each other, and trusting Olivia as an actor to be running the show back at the school brilliantly while I was off doing what I was doing. That sense of betrayal at the end, that nothing has been what I thought, feels powerful. Valya ends the season on Arrakis. A personal question: How do you feel about sand? I'm not particularly good with heat, so it's going to be interesting. I don't think we can be in the same location because of world events, but judging by the Villeneuve films, they shot everything in the desert at dawn and dusk. Wherever we are, I hope it's the nicest light, but obviously not too hot. Best of GoldDerby Chloë Sevigny on Kitty Menendez and 'Monsters' fascination: 'People are endlessly curious about those who have privilege and abuse it' Jason Isaacs relives filming 'The White Lotus' piña colada scene: 'It was one of the reasons I was worried about taking the job' Kaitlyn Dever on playing 'horrible' characters in 'Last of Us', 'Apple Cider Vinegar': 'I just don't see any other option but to give 100 percent' Click here to read the full article.
The Guardian
21-02-2025
- Entertainment
- The Guardian
Why Dune: Part Two should win the best picture Oscar
A common complaint I've heard about Dune: Part Two is that it is too similar to the first Dune, Denis Villeneuve's audacious gamble to adapt just half of Frank Herbert's beloved sci-fi tome and hope for another greenlight from Warner Bros. This is correct. Part Two, like its predecessor, is arcane, surprisingly weird, oddly structured and deeply uninterested in pandering. This is actually a compliment, because though I have seen Part Two six times and still do not totally understand the Bene Gesserit, the film, like its predecessor, is a strange creature in modern cinema: a true blockbuster – a cinematic behemoth that makes millions, generates memes and cements the ever-vanishing movie star – that harnesses the full power of the art form. That is no small feat – this is a movie with many moving parts and much potential for off-putting density. (An honest reader of the book will tell you: Herbert frequently gets in his own way. The rich source material itself is no guarantee of quality storytelling.) If Part One was a thrilling immersion into a rare universe that felt genuinely alien and remote from our times, Part Two is the spaceship hurtling at full speed – and that spaceship, gloriously designed and rendered in sleek silver, landing on a planet in one of Villeneuve's signature shots of great, arresting contrasts in scale. Part Two revels in such latitude of spectrum, the vertigo of vast swings – huge spice harvester next to palm-sized desert mouse, sonorous Hans Zimmer score to pin drop silence, intergalactic political intrigue in the extraction of water from one single human body. Giant sandworm, tiny prince, mountains of sand and flickers of spice. Timothée Chalamet as tremulous, humble young interloper to genocidal dictator bent on revenge, Zendaya from barely a presence to probable hero – plus a dose of (bald) Austin Butler as a memorably bizarre and magnetic villain and Florence Pugh, with her uncanny ability to appear natural in every setting, as an inscrutable princess in this game of thrones. To wit, Part Two is, frame by frame, a beautiful film to behold, another feat of mesmeric alien vibes – a movie that I want to watch on repeat, at any level of sobriety, on any screen size, though preferably Imax, which was my single greatest sensory experience of 2024. It is not a perfect movie, at times it is too remote and lucid for its own good, its politics a little too shrouded by the sands (and with too few Arab actors for a people, the Fremen, clearly modelled on the Bedouin). But it is a spectacular one – a visual feast of bombastic and striking flair, a collision of forces too large for our world. All while maintaining a precise balance of angsty self-seriousness, self-awareness and pageantry that makes me laugh and clap my hands at the screen. Chalamet's Paul wrangling a giant sandworm through walls of sand? Austin Butler's Feyd-Rautha fighting to the death under Giedi Prime's black sun? Fremen blowing up enemy helicopters? Chalamet yelling in a made-up language and then declaring 'I am Paul Muad'Dib Atreides, Duke of Arrakis!' to 10,000 followers and one disappointed Zendaya? Delights! I live! As I argued three years ago for Dune as best picture, watching either film provokes a guileless sense of wonder, an earnest appreciation for living at a time when such spectacle is possible – and convincing – on screen. Particularly in a year of unconvincing films (The Substance), or highly flawed (Emilia Pérez), devolving (love The Brutalist, but the second act …) and questionably lit ones (Wicked), Dune: Part Two is all the more refreshing. I'm doubling down on my argument for Part One, because Part Two is thankfully doubling down on its strengths: if the Oscars are, in theory if not usually in practice, an occasion to reward excellence in the collaborative art of film-making, to celebrate the fantastic illusions such collaborations can achieve, then it's finally time for Dune.
