Latest news with #TheLover
Time of India
19-05-2025
- Entertainment
- Time of India
How to easily obtain the Emperor Sword in Oblivion Remastered?
(Image Via Virtuous and Bethesda Game Studios) The Elder Scrolls IV : Oblivion Remastered offers the players a clever but unconventional means to get the Emperor's sword during the opening act of the game. By exploiting the specific birthsign ability and maintaining timing, the players can bypass the restrictions and even claim the iconic weapon. While the method needs precision, it is a game-changer for those who seek an early power boost. Here is the breakdown of all you need to know to pull it off without breaking the game. How to secure the Emperor Sword in The Elder Scrolls IV: Oblivion Remastered? 😱 How to Get the Emperor's Sword in Oblivion Remastered? #oblivion #oblivionremastered The trick here begins with the selection of The Lover birthsign , during the creation of the character. It will grant you Lover's Kiss (usable once per day; it can paralyze the enemies for 10 seconds) power and the one-time paralysis ability, which is important for a strategy. Ensure to progress normally via sewer tutorial until you reach the moment where the Blade will instruct you— ' Wait here with the Emperor .' The dialogue cue will signal your chance to act; just make sure to remain close and try to avoid trailing guards while they depart. Then, create the distance between Uriel Septim and yourself. Cast the low-damage spell like the Flare to provoke him into hostility. He will then draw the sword but will not attack in an aggressive manner. Activate the Lover's Kiss to paralyze Uriel Septum mid-monologue. As the effect would wear off, he would finish the speech and then collapse. It will leave the weapon lootable. The guards ignore the incident as the game registers the Emperor's death, related to combat, as he was hostile. How to maximize the Emperor Sword's potential? While obtaining the sword early on can be rewarding, understanding the role of it is the key. The Emperor Sword is not just a trophy but a versatile blade with balanced stats. It is ideal for the early-game melee builds. Just pair it with the armor from the nearby chests or the quest rewards for dominating the foes in starting zones. But make sure not to be completely and solely reliant on it. The later upgrades would outclass the weapon, making it the stepping stone instead of the endgame weapon. The tactic even highlights the flexibility of Oblivion Remastered. The remake perfectly preserves the emergent gameplay of the original, allowing the creation of some creative problem-solving. While it is unintended, methods like such celebrate the depth of the game and encourage the exploration that is beyond the rigid questlines. Note: Exploring the mechanics can disrupt the immersion at times. So, use some discretion if the narrative cohesion is important to you. Tips to collect the Emperor's Sword with ease Timing matters. So, use it properly. Save the game before you confront Uriel to avoid any mishaps. If paralysis wears off sooner than expected, reload and then adjust the spellcasting speed. Give priority to leveling skills like Destruction or Blade to complement the use of the swords. Whether you are a lore enthusiast or just a player, snagging the weapon early on will add a fresh twist to replaying the timeless adventure of Cyrodiil.
Sydney Morning Herald
08-05-2025
- Entertainment
- Sydney Morning Herald
Sex, lies and hitmen: What more could you want?
THEATRE THE LOVER & THE DUMB WAITER Ensemble Theatre, May 7. U ntil June 7 Reviewed by JOHN SHAND ★★★★ You know when you walk in on an existing conversation, and automatically try to connect threads of what's being said? These two one-act plays by Harold Pinter are similar to that. No playwright was more influenced by Samuel Beckett, yet where Beckett gave us glimpses of universality, Pinter honed in on specifics, like looking at life through a keyhole. Those specifics are then shrouded in enigmas for the audience to decipher. Directed by Mark Kilmurry with a fine ear and eye, The Lover (1962) and The Dumb Waiter (1957) are ideally mated both in terms of those enigmas, and also pragmatically, needing just three actors between them. That The Lover, originally penned for television, is marginally the lesser piece is down to the other's complete enthrallment. The Lover concerns a married couple, Sarah (Nicole da Silva) and Richard (Gareth Davies), who matter-of-factly discuss her afternoon liaisons with her lover, Max, and his dalliances with a sex worker. Except Max is really Richard, and the sex worker is really Sarah: they playact for sexual titillation, which puts them on shaky ground. What if one of them breaks the game's unspoken rules? Written by anyone else, it would be a straightforward comedy satirising the bored bourgeoisie, but Pinter deepens the shadows of each word. Da Silva and especially Davies skilfully play the piece ever so lightly, while implying this element of danger, whereby the game-playing could spiral towards a point of no return. It's akin to watching two domesticated cats who could turn feral. But for combining tension with comedy, The Dumb Waiter, with its overt debt to Waiting for Godot, is supreme, and in just a few minutes during the interval, Simone Romaniuk's ingenious set is transformed from 60s swinging suburbia to the desolation and mould of a twin-bed basement which also has a dumb waiter – a miniature lift for delivering meals via a hatch in the wall. Ben (Gareth Davies, playing his third role, effectively) and Gus (Anthony Taufa) are hitmen, holed up in the room waiting for instructions on their next target. Despite Ben just lying on a bed reading a newspaper ('87-year-old man crawls under stationary lorry and is run over'; 'eight-year-old girl kills cat') and Gus being busy finding squashed matches and cigarettes in his shoes, Ben is swiftly established as the boss; Gus the underling. Davies, half the size of Taufa, is exceptional at conveying a menace and snappish temper from which Gus shrinks. Similarly, Taufa catches Gus' odd quality of being a bit thick, and yet having enough warmth and emotional and moral intelligence to be afflicted with a conscience.
The Age
08-05-2025
- Entertainment
- The Age
Sex, lies and hitmen: What more could you want?
THEATRE THE LOVER & THE DUMB WAITER Ensemble Theatre, May 7. U ntil June 7 Reviewed by JOHN SHAND ★★★★ You know when you walk in on an existing conversation, and automatically try to connect threads of what's being said? These two one-act plays by Harold Pinter are similar to that. No playwright was more influenced by Samuel Beckett, yet where Beckett gave us glimpses of universality, Pinter honed in on specifics, like looking at life through a keyhole. Those specifics are then shrouded in enigmas for the audience to decipher. Directed by Mark Kilmurry with a fine ear and eye, The Lover (1962) and The Dumb Waiter (1957) are ideally mated both in terms of those enigmas, and also pragmatically, needing just three actors between them. That The Lover, originally penned for television, is marginally the lesser piece is down to the other's complete enthrallment. The Lover concerns a married couple, Sarah (Nicole da Silva) and Richard (Gareth Davies), who matter-of-factly discuss her afternoon liaisons with her lover, Max, and his dalliances with a sex worker. Except Max is really Richard, and the sex worker is really Sarah: they playact for sexual titillation, which puts them on shaky ground. What if one of them breaks the game's unspoken rules? Written by anyone else, it would be a straightforward comedy satirising the bored bourgeoisie, but Pinter deepens the shadows of each word. Da Silva and especially Davies skilfully play the piece ever so lightly, while implying this element of danger, whereby the game-playing could spiral towards a point of no return. It's akin to watching two domesticated cats who could turn feral. But for combining tension with comedy, The Dumb Waiter, with its overt debt to Waiting for Godot, is supreme, and in just a few minutes during the interval, Simone Romaniuk's ingenious set is transformed from 60s swinging suburbia to the desolation and mould of a twin-bed basement which also has a dumb waiter – a miniature lift for delivering meals via a hatch in the wall. Ben (Gareth Davies, playing his third role, effectively) and Gus (Anthony Taufa) are hitmen, holed up in the room waiting for instructions on their next target. Despite Ben just lying on a bed reading a newspaper ('87-year-old man crawls under stationary lorry and is run over'; 'eight-year-old girl kills cat') and Gus being busy finding squashed matches and cigarettes in his shoes, Ben is swiftly established as the boss; Gus the underling. Davies, half the size of Taufa, is exceptional at conveying a menace and snappish temper from which Gus shrinks. Similarly, Taufa catches Gus' odd quality of being a bit thick, and yet having enough warmth and emotional and moral intelligence to be afflicted with a conscience.
Scroll.in
01-05-2025
- Entertainment
- Scroll.in
Anthony Macris, The Conversation
Punishment in search of a crime: Franz Kafka's 'The Trial' turns 100 Kafka brings deferral and recursion to an abrupt halt in the form of the ultimate act of closure: death. Anthony Macris, The Conversation · 20 minutes ago Marguerite Duras's novel 'The Lover' is 'a great literary act of looking back' The book is a study in making and unmaking yourself, reinterpreting past selves through the lens of present and future selves. Anthony Macris, The Conversation · Apr 07, 2023 · 05:30 pm 'The Candy House': Jennifer Egan's new novel opens a window to the America that may come to be A 'sibling', and not a sequel, to Egan's bestselling 'A Visit from the Goon Squad'. Anthony Macris, The Conversation · Apr 27, 2022 · 05:30 pm
The Age
28-04-2025
- Entertainment
- The Age
The playwright who humanised hitmen decades before Pulp Fiction
Decades before Quentin Tarantino humanised hitmen by having them discuss burgers before a kill in Pulp Fiction, Harold Pinter had them in a basement flat talking tabloid news stories in his 1957 work The Dumb Waiter. Both Tarantino's 1994 movie Pulp Fiction and Pinter's 1957 play set the banal against the brutal, teasing out the humour amid a rising sense of foreboding. 'It's that banality of what's right in front of you, coupled with knowing what's behind it … It makes me … very, very tense, because, you know, it's almost like violence is always lurking,' observes Ensemble Theatre artistic director Mark Kilmurry. Kilmurry is directing The Dumb Waiter for a Pinter double-header with The Lover in a season beginning at Ensemble next month. The Dumb Waiter follows the idle conversation between two hitmen, Gus and Ben, who wait in a basement flat for their next job while a dumb waiter (a kind of lift) delivers puzzling food orders to the pair. Anthony Taufa plays one of the hitmen opposite Gareth Davies, who is on double duties performing The Lover with Nicole da Silva. 'It's killing time, killing people … it is also the idea of doing this so on the regular that this becomes just another day. This is just work, and this is the things that these two people have to do,' Taufa says. 'So I think it's like waiting on a set as well. You're always waiting to do something for like three minutes, then you leave again.'
