Hp omen obelisk: Omen by HP Obelisk Gaming Desktop Computer, 9th Generation Intel Core i9-9900K Processor, NVIDIA GeForce RTX 2080 SUPER 8 GB, HyperX 32 GB RAM, 1 TB SSD, VR Ready, Windows 10 Home (875-1023, Black) : Electronics

HP OMEN Obelisk 875-0018 MT Gaming PC AMD R5-3500, 3.40G 8GB 1TB – CompTechDirect

HP OMEN Obelisk 875-0018 Mini Tower Gaming PC, AMD R5-3500, 3.40GHz, 8GB RAM, 1TB HDD, Win10H – 4NN71AA#ABA (Certified Refurbished)


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  • Overview 
  • Specification
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HP OMEN Obelisk 875-0018 Mini Tower Gaming PC – 4NN71AAR#ABA 



General Information

Product Condition: Manufacturer Refurbished
Manufacturer: HP
Product Model: OMEN Obelisk 875-0018
Manufacturer Part: 4NN71AAR#ABA
Product Name: HP OMEN Obelisk 875-0018 Mini Tower Gaming PC
Form Factor: Mini Tower
Product Color: Shadow Black

Processor & Chipset

Processor Manufacturer: AMD
Processor Model: AMD Ryzen 5 3500 (3. 4 GHz, max turbo boost 4.1 GHz, 32 MB Cache, 6 cores)
Processor Speed: 3.40 GHz
Processor Core: Hexa-core (6 Cores)


Standard Memory: 8 GB
Memory Technology: DDR4-2666 SDRAM
Number of Total Memory Slots: 1


Hard Drive Capacity: 1 TB 7200 RPM SATA HDD 
Optical Drive Type: None


Graphics Manufacturer: NVIDIA
Graphics Model: NVIDIA GeForce GTX 1650 FH (4 GB)
Graphics Type: Discrete

Network & Communication

Wireless LAN: Yes
Wireless Connectivity: 802. 11 a/b/g/n/ac (2×2) WiFi
Bluetooth: Yes
Network Interface: Integrated 10/100/1000 GbE LAN (RJ-45)
Ethernet: Yes

Keyboard & Mouse

Keyboard: USB Wired Keyboard with Volume Control Buttons
Pointing Device: USB Wired Optical Mouse

Ports & Connectors

USB 3. 1 Gen 2 Type-C: 1
USB 3.1 Gen 2 Type-A: 1
USB 3.1 Gen 1 Type-A: 6
Ethernet LAN (RJ-45): 1
Audio Jacks: 3
Headphone/Mic Combo Port: 1
Microphone Port (Audio-in): 1
Power Button: 1


Audio: Integrated Audio
Audio Features: Integrated Audio Codec: ALC3866-CG
5. 1 Channel Audio Support
Headphone/Microphone Input/Output (Combo): 1


Power Supply Type: 500 W


Operating System Platform: Windows
Operating System: Windows 10 Home (64-Bit)

Dimensions & Weights

Unit Dimensions (W”x D”x H”): 6. 5 x 14.06 x 17.05″
Unit Weight (lbs): 20.28 lbs

What’s Included

Package Contents: HP OMEN Obelisk 875-0018 Mini Tower Gaming PC
USB Keyboard & Mouse
Power Cable


Warranty Info

  • Limited Warranty period (parts & labor): 90 Days HP Warranty
  • HP Tech Support Phone # 1-800-474-6836


Return Policies

  • Return for refund within: 30 days
  • Return for replacement within: 30 days

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HP Omen Obelisk gaming PC review

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Our Verdict

The Obelisk represents an excellent refinement of an already strong line of gaming PCs, and is priced very competitively, especially during one of its frequent sales.

  • Packed with powerful components
  • Tooless access means easy upgrading
  • Open, spacious case with an easy to navigate interior
  • Unappealing interior lighting and design
  • MOBO only includes two DIMMs and a single additional storage bay

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HP has had an interesting trajectory as a PC manufacturer, experiencing both the dizzying heights of success (and turning out some of the best gaming PCs) as well as some fairly arid periods where falling sales and corporate restructuring threatened to pull the company under. But in its current incarnation, HP is one of the most reliable builders in the marketplace. The Omen showcases a philosophy that prioritizes what’s critical in a PC build while deemphasizing some of the extravagances and frills that have muscled their way into gaming prebuilts in the last few years.

The Omen Obelisk is HP’s midrange offering, nestled between their stripped down Pavilion line and the Omex X, which is clearly geared for wealthy enthusiasts and power users. The Omen’s focus is definitively on performance first, eschewing grand displays of RGB lighting or an easily upgradeable open architecture to deliver a machine that’s ready to manhandle modern titles right out of the box.


CPU: Intel Core i7-8700
GPU: Nvidia GeForce RTX 2080 8GB
Storage: 512 B PCIe NVMe M.2 SSD; 1TB 7200 rpm SATA HDD
Intel h470 Chipset
RAM: HyperX 32GB DDR4-2666 SDRAM (2 x 16 GB)
PSU:  500 W Bronze
Lighting: RGB lit logo on the front of the case; non-customizable single interior light
Weight: 23 lbs.
Size:  14.06″ x 6.5″ x 17.05″

The Obelisk certainly isn’t a console equivalent (it’s much more powerful than that), but it does feel very plug and play, and designed to be accessible by more casual users. Total time from unboxing the unit to looking at the desktop wallpaper was around five minutes, including plugging it in to power and my 4K panel and a sub-30 second boot loop. Unfortunately, the idea of the Obelisk as a machine you plug in and play on extends to some of the choices HP made outfitting the interior. 

Like a console, some of your upgrade options are pretty limited. While our unit came with a generous helping of 32GB of DDR4, the MOBO only packs two total DIMMs, and since it only supports up to 16GB modules, 32GB is the ceiling for memory expansion. And while this spec comes with a speedy 512GB SSD and a conventional 2TB HDD, there’s only a single additional storage bay if you want to add drives. As someone with a growing collection of SSDs and HDDs to manage, I would’ve liked a little more room for expansion.

That said, the Obelisk is absolutely ready to play, and will handle 1440p gaming at ultra with ease. It’s loaded with an RTX 2080, which means it’s prepped for what Nvidia tells us is the imminent, ray tracing-fueled future of gaming, and a very capable Core i7-8700. Another indication that this isn’t the sort of machine HP intends you to tinker with and upgrade is that non-K processor, but it’s still a competent chip that will handle gaming applications in particular with aplomb for the foreseeable future. Even 4K is pretty manageable on the Obelisk, though you’ll likely have to tweak down a handful of settings if you’re looking for a silky smooth 60 FPS. 

Testing the Obelisk with Shadow of the Tomb Raider’s internal benchmark utility, it returned an impressive 89 FPS at 1440p and a respectable 39 FPS at 4K with everything cranked up to ultra. The numbers slipped a bit when running it through the Total War: Warhammer II meat grinder, down to 57.5 frames at 1440p and short of 30 (26. 9 FPS) when I turned the resolution up to 4K . I’d hardly call those 4K results chugging, of course, so if you don’t mind just a little framiness and prefer resolution to smoothness, the Obelisk can deliver 4K without tremendous sacrifice.

Of course, neither of these games takes advantage of ray tracing (as of this writing, Battlefield V continues to be the only game that properly supports DXR), and enabling it and/or DLSS will likely cost you frames, so 4K may be less viable under those conditions. That said, these games are towards the high end of demanding, so slighter titles will definitely be achievable at 4K/60.

The Core i7-8700 tucked into the Obelisk performed as we expected. Cinebench returned a score of 1385 cb in multicore performance and 186 when we tested a single core. It’s an excellent choice for a gaming PC build, because while it’s very handy and will deal fairly easily with most of the requirements put on it by contemporary games, it’s also affordable and doesn’t add a lot of dollar bloat to the final price tag.

If you’re really invested in the aesthetics of your gaming PC, the Obelisk is a bit of a non-starter. While the design of the matte black elements of the case are inoffensive, with some hard angles and a logo that pulses and glows in whatever shade(s) of RGB lighting you program that evoke the machine’s namesake, the tempered glass side panel is a bit of a misstep. It’s not that the glass itself is poorly designed, but it does expose the unfortunate looking interior of the rig, which features some garish, static red lighting that looks gloomy and slightly ominous. It also showcases the strange offset configuration of the CPU cooler, the cockeyed angle of which makes the entire build look slightly sloppy. And aside from the relatively pleasant design of the GPU, the other components are understated at best, and very plain and functional in most cases, so bathing them in ugly ruddy light does them no favors. 

That said, the interior of the case is pleasantly spacious, which helps mitigate any heat issues that may arise (the stock cooling solution packed into the Obelisk is adequate, but underwhelming) and makes mucking around inside it much easier. The contrast between the functional design of the interior and the ugly presentation is a pretty apt metaphor for the philosophy HP seems to have embraced while building it. This is a rare situation where I likely would’ve preferred the cheaper, flat black plastic option that’s offered for the side panel on the other models instead of the more expensive tempered glass. 

That said, the Omen Obelisk is an excellent machine, and with a current MSRP of $1,899 (with sale prices that dip down to the $1,499 mark) it compares very well to similarly spec’d machines that cost hundreds more, trimming out unnecessary features that you’ll never miss. If you’ve been waiting for an excellent prebuilt to jump onboard the RTX bandwagon, and want a machine built for today, the Obelisk is a great value. 

To see how the Omen Obelisk stacks up to some other excellent prebuilts, take a look at our guide to the best gaming PC you can get your hands on right now.

HP Omen Obelisk: Price Comparison

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HP Omen Obelisk

The Obelisk represents an excellent refinement of an already strong line of gaming PCs, and is priced very competitively, especially during one of its frequent sales.

Alan’s been a journalist for over a decade, covering news, games, and hardware. He loves new technology, Formula 1 race cars, and the glitter of C-beams in the dark near the Tannhäuser Gate. Find him @chapelzero on Twitter for lengthy conversation about CRPGs of the early 90s and to debate the merits of the serial comma.

Glory to you, hopeless pain! The grey-eyed king died yesterday

The premiere of King Lear in Pyotr Fomenko’s Workshop is a rather unexpected repertoire phenomenon, almost an oxymoron. It’s not that the “fomenki” never took up tragic material, but it can be said that there was never such a textbook and gloomy choice. This is probably why the director was not only Yevgeny Kamenkovich, but also the leading actors involved in the premiere – Karen Badalov and Yuri Butorin, not at all a student of Pyotr Fomenko. The role of the Chorus is played by young artists from the new trainee group of the theatre. And this also explains a lot, as a real teacher, artistic director Kamenkovich, tries to choose populous material for the big stage, so that there is a place to occupy all the future replenishment of the troupe.

It is impossible not to notice that it was in this season that the theaters took up Macbeth as well. It would seem that titles that have not left the repertoires are again in demand. It remains to answer the question “why?”, but, unfortunately, just the premiere of “fomenki” does not give an exhaustive answer. In the Fomenko Workshop for 25 years of its existence, Shakespeare’s name appeared on posters three times, but all in the comedy genre: “Twelfth Night”, “The Tale of the Ardennes Forest” (based on the play “As You Like It”) and, of course, “Dream in summer night.” “A new production in the Workshop” is the theater’s first appeal to the tragic legacy of the Great Bard” – this is how the theater presents it.

The main thing that gives the premiere unbeatable freshness is the translation of Hosea Soroka, in the Russian theater, oddly enough, is still rare and innovative, despite the age. Hooligan, “dirty”, sarcastic, one in which poetry turns into its unsightly underside in order to reveal the meanings hitherto covered by an allegorical veil and, as it were, expose the truth. The counterpoint to this “language” is the snow-white robes with airy collars of the royal couple against the background of the white skeleton of the kingdom, which Lear literally pulls with ropes on his old shoulders and wants to divide the heavy burden first into three parts, but, offended by the coldness of his youngest daughter, divides it into two – between the elders. On the contrary, all negative and lower-ranking characters, as well as secondary ones – the king’s retinue – are purely in black, and only the jester (Alexander Michkov) is allowed to fall out of the whole picture with his red-gray, eye-irritating coloring (costume designer Maria Borovskaya).

Alexander Borovsky invents a semi-circular movable platform that remotely resembles the design of Shakespeare’s Globe Theatre. Her laconic, brightly lit space for playing is drowning in the darkness of an empty stage, just as the once happy Lear family disappears in confusion. Now to the proscenium, now into its depths, from time to time a frightening black false curtain of snaking ribbons descends. It will hide the intrigues weaving in the castles, and through it they will be spied on, and finally create a real visual illusion of a large-scale battle between France and Britain.

The plot of the tragedy will be accompanied by a traveling orchestra – a wonderful solution that emphasizes the authenticity of the entire design. Fomenkov’s lightness is already in the first sounds of music, to which Cordelia whirls, choosing first one, then another knight-herald from the king’s retinue, and they are circling her like they are rocking a child. This is how she is – with the angelic face of a very young diva. Cordelia Darya Konyzheva (this is the first and promising role of yesterday’s GITIS student in the “Workshop”) – defenseless, with a touching rounded back and school-style cut hair, with a clean and deep look and childishly stubborn when she proves to her father that she is not poisoned to him flattery, but a cordial attitude. Exact, portrait hit in the role. Lear’s youngest daughter already has few lines, but here they seem not to be needed at all – the naive and virginal nature of the actress turns out to be so speaking. Not everything is so clear with other daughters. As always, Polina Kutepova is captivating both in gestures and intonations, now Goneril, partly copies her in the feminine charm of Seraphim Ogarev – Regan (at some point you notice the curlyness of both – as opposed to the straightforwardness of Cordelia, even in the hairstyle). But who are they – angry Erinyes or victims of their own conspiracy? And how, in essence, do they go their way – from snow-white nymphs to restless furies? Lear Karen Badalov also leaves a train of questions… His oriental elegance is a special spice in this sad and at the same time ironic image. It is precisely this signature note of the theater – light sadness and revealing irony – that Yevgeny Kamenkovich, fortunately, carries through all the action, such, for example, the caustically ironic and fair good-natured Duke of Albany, as Alexei Kolubkov plays him. But the impassivity of the “historical chronicle”, which is chosen by the style of this “King Lear”, deprives him of that heat of tragedy, which gives rise to special spectator empathy. And it’s not typical for the Fomenok troupe to play big, backhand!

Here are the director’s tricks in “King Lear”, despite the staging volume of each character, especially in terms of the external outline of the character and the presentation of the text, in many respects concern “signal” details. So, Edmund, the illegitimate son of adviser Lear Gloucester (Andrey Mikhkhalev) with the appearance of a playboy – there is no doubt why Goneril and Regan kill each other in the struggle for possession of it – as the final touch of the image of the villain, a black tongue, as if poisoned by poison, was invented . When Polina Kutepova’s Goneril decides to get her rival sister out of her way, she symbolically puts on red leather gloves. And when she is just embarking on a disastrous path and weaving an intrigue against the king-father, then jumping like a white goat from one stage to another, that is, from one part of the kingdom to another, wanting to subdue everything and everyone, then she stumbles as an omen, and the word “power” invariably suffocates her. And the whole stage picture in color unequivocally divides the Shakespearean world into black and white.

New faces among “fomenok” promise new acting discoveries. At the end of last season, Yuri Titov, who had long been accepted into the troupe, was entrusted by Yevgeny Kamenkovich with the main role of a boy who sets up an experiment on his own life in “Easy Breathing” based on a play by the playwright of the 90s, Pyotr Gladilin, somewhat forgotten today. In King Lear, the actor, not without success, plays the role of the deceived Edgar, who reincarnates as the foolish “poor Tom”. His extreme mobility of facial expressions, following the dynamics of character, brings new, even excellent colors to the Fomenkov ensemble. With his Edgar-Thomas, who, of course, is a “mirror” for the mad Lear, the idea is connected that is most clearly manifested in this interpretation. The epigraph prefixed to the production is the last lines of the play translated by Leo Tolstoy: “We must obey the gravity of the sad time and express what we feel, and not what we have to say. ” And the thought comes that in the darkest times foolishness is the only salvation of the human soul from the “emptiness of heart” and the blackness of the world, which began to fit into the circle of three words – lie, slander, prison.

Source: Nezavisimaya Gazeta

Elizaveta Avdoshina, Nezavisimaya Gazeta, February 18, 2019

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  • 90 021 “Russian man on rendez-vous”: finish the game

    Natalia Vitvitskaya, “vashdosug.ru”, 10/24/2011

  • Pupils of the Fomenko workshop in a hooligan way will report “Spring Waters”

    “RIA-Novosti”, 10/21/2011

  • Ferris wheel 9000 4 Svetlana Shchagina, Petersburg Theater Magazine, No. 3 (61)”, 09.2010

  • Ours in Dublin

    Boris Pavlovich, “Petersburg Theater Journal”, 07.2010

  • Talk about the era

    Maria Khalizeva, “Screen and Stage (No. 10, 2010)”, 05.2010

  • Red

    Maria Khalizeva, “TimeOut (No. 17)”, 05.2010

  • The premiere of the play “Red” took place in the “Peter Fomenko Workshop”

    Olga Fuks, “Evening Moscow”, 04/26/2010

  • Shades of Red

    Vyacheslav Shadronov, “Private Correspondent (www. .chaskor.ru), 8.04.2010

  • “How well we lived badly”

    Ekaterina Vasenina, Novaya Gazeta, April 2, 2010

  • “How well we lived badly”

    Irina Alpatova, “Culture”, April 1, 2010

  • Nothing to do with it

    Dina Goder, Vremya Novostei, 03/31/2010

  • Boris Ryzhiy at the Fomenko Theater

    Marina Timasheva, Radio Liberty, 03/26/2010

  • In the land of cops and thieves

    Olga His tire, Novye Izvestia, 25.03. 2010

  • Local Styx

    Alena Karas, Rossiyskaya Gazeta, 03/24/2010

  • “Redhead”: back to the USSR

    Alena Danilova, “Vash Leisure”, 20.03.2010

  • There are strange rapprochements

    Tatyana Krukovskaya, “Scene, No. 2 (64)”, 2010 900 03

  • Joyce

    Sergei Konaev, “Screen and Stage (No. 7)”, 04.2009

  • Chronicle of one day

    Marina Gaevskaya, “Culture”, 5.03.2009

  • Theatrical presentation of the forbidden novel

    Galina Shmatova, “ Theater Life (No. 3, 2009)”, 03.2009

  • Day, life and eternity

    Alena Danilova, “Teatral (Teatralnye Novye Izvestia)”, 03.2009

  • Pyotr Fomenko’s Workshop hosted the premiere of “Ulysses”

    Olga Fuks, “Evening Moscow”, 02/19/2009

  • line

    “Results”, 9.02 .2009

  • Two words about eternity

    Alena Danilova, Novye Izvestia, 4.02.2009

  • “Ulysses” in Pyotr Fomenko’s Workshop

    Vidmantas Silyunas, “OpenSpase.ru”, 4.02. 2009

  • ” Ulysses” in the “Workshop of Pyotr Fomenko”

    Vidmantas Silyunas, OpenSpace.Ru, February 4, 2009

  • Evgeny Kamenkovich: “I don’t think our path is the only right one”

    Private Correspondent, February 4, 2009

  • Theater of One Novel

    Roman Dol zhansky, “Kommersant” , 02/04/2009

  • Sly Ulysses

    Alena Karas, “Rossiyskaya Gazeta”, 02/04/2009

  • “Pyotr Fomenko’s Workshop” completed an odyssey

    Alla Shenderova, “infox.ru”, 03.02.2 009

  • Weight taken. What for?

    Marina Davydova, Izvestia, 3.02.2009

  • Penelope overcoming Ulysses

    Olga Romantsova, Gazeta, February 3, 2009

  • Middle layer

    Dina Goder, Vremya Novostei, February 3, 2009

  • topia

    Dmitry Bavilsky, “Private Correspondent (www. chaskor.ru), 2.02.2009

  • Flight attempt

    Natalia Staroselskaya, Strastnoy Boulevard, 10, 01.2008

Square of Non-Concord. Place de la Concorde.

We continue the conversation… Or rather, a walk around Paris… I post photos as they are photographed, that is, my own movement… So, from Place Vendôme we reach Place de la Concorde. Place de la Concorde. Area NOT consent.

250 years ago there was no Paris here. There was nothing. Outskirts. Wasteland. Gutters, marble warehouses, a tax collector… Something like that… But out of economy, Louis XV chose this particular place so that his loyal subjects could erect a memorial statue in honor of him, his beloved – the wasteland belonged to Louis personally. The statue was put up late, in 1763. The square was rebuilt to match. Named, respectively, Place Louis XV. The statue was on horseback. On a pedestal. In each corner of the pedestal there is one “virtue” of the king (in sculptures): Strength, Justice, Prudence, Peacefulness. People walked around, admired, admired:

Ah ! la belle statue, ah! le beau piédestal,
Les vertus sont à pied et le vice à cheval.

Oh, a beautiful statue, oh, a beautiful pedestal,
Virtues under the heel, vice on a horse

(my bad translation)

..a square building with columns in the background is as if our “thought” … Bourbon Palace. Assembly nationale. Palais Bourbon.

Fontaine des Mers. On the other side of the Obelisk is the Fountain of the Rivers (Fontaine des Fleuves).

Further – worse. In 1770, pompous celebrations of the marriage of the heir, the future Louis XVI, with Marie Antoinette of Austria. On the square – magnificent fireworks and 133 people trampled to death. Bad omen. We know. A decade and a half later, both Louis and Marie Antoinette will be beheaded right here. Well, and more than a thousand people at the same time, the main revolutionaries inclusive (1.119of the 2,498 guillotined in Paris during the terror; the guillotine was not always in this place). On the pedestal from the overthrown statue of Louis XV in those sweet times stood (or rather sat) the Statue of Liberty. “Freedom drenched in blood “. The guillotine was placed side by side and the square was called “Revolution Square”. Ascending the scaffold, the valiant Manon Rolland immortalized: “Oh! Freedom! How many crimes have been committed in your name!”… Well, then the square was called somehow. Until, finally, there was Consent. And in order to forget about the past and not remind you of anything, the Luxor obelisk rises in the middle (about it separately a little later). From Luxor itself. Presented by the Viceroy of Egypt to France. France, in return, gave a wonderful copper clock … Which never worked …

Luxor Obelisk. l’obélisque de Louxor.

To the left is the Hotel Crillon, to the right is the Maritime Department (Ministry of the Navy), in the center is the Royal Street (rue Royale), in the back of the street is the Madeleine Church (l’église de la Madeleine). In the foreground is one of the two photos.

View from Place de la Concorde: Rue Royale, at the back of the street – the Madeleine Church (l’église de la Madeleine).

The largest square in Paris. 86.400 m² (according to other sources – “only” 84.000 m²).

This is only half the area. Where the Obelisk is just an “island” in the middle.

The building with columns – Bourbon Palace (Le palais Bourbon), it is also the National Assembly of France (Parliament) (l’Assemblée nationale). In the distance – the dome of the Invalides (House of the Invalides) (Les Invalides / L’hôtel des Invalides).

French National Assembly (l’Assemblée nationale).

In the corners of the square, eight statues are allegories of eight French cities: Brest, Rouen, Lille, Strasbourg, Lyon, Marseille, Bordeaux and Nantes.

City of Bordeaux

Gate-gate of the Tuileries garden (le jardin des Tuileries). Behind the garden is the Louvre.

Fontaine des Mers. On the other side of the Obelisk is the Fountain of the Rivers (Fontaine des Fleuves).

Hotel Crillon.

View from the Royal Street ( rue Royale): The building with columns is the Bourbon Palace (Le palais Bourbon), it is also the French National Assembly (Parliament) (l’Assemblée nationale). In the distance – the dome of the Invalides (House of the Invalides) (Les Invalides / L’hôtel des Invalides).