Since the inscription of the “Traditional music of the Tsuur” heritage, Mongolia has undertaken multifaceted activities to identify the practitioners of the “Traditional music of the Tsuur", establish a registry database, research, promote, and transmit this cultural heritage to future generations.
#RISK OF RAIN 1 FINAL LEVEL MUSIC UPDATE#
Please provide an executive summary of the report that will allow general readers to understand the current status of the element, any positive or negative impacts of inscription, the implementation of safeguarding measures during the reporting period and their possible update for the following years. Mongolian traditional practices of worshipping the sacred sites (2017) The forty known pieces preserved among the Uriankhai Mongolians are transmitted exclusively through the memory of successive generations – a feature making this art highly vulnerable to the risk of disappearing. The Tsuur tradition has faded over recent decades as a consequence of negligence and animosity toward folk customs and religious faith, leaving many locales with no Tsuur performer and no families possessing a Tsuur. The music reflects one’s inner feelings when travelling alone, connects a human to nature, and serves as a performing art. The Tsuur is traditionally played to ensure success for hunts, for benign weather, as a benediction for safe journeys or for weddings and other festivities. Simultaneously touching the mouthpiece of the pipe with one’s front teeth and applying one’s throat produces a unique timbre comprising a clear and gentle whistling sound and a drone.
The Tsuur is a vertical pipe-shaped wooden wind instrument with three fingerholes. Its origins lie in an ancient practice of worshipping nature and its guardian spirits by emulating natural sounds. Tsuur music has an inseparable connection to the Uriankhai Mongolians of the Altai Region, and remains an integral part of their daily life. Tsuur music is based on a combination of instrumental and vocal performance – a blending of sounds created simultaneously by both the musical instrument and the human throat. Don't walk into those.© 2009 by National Centre for the Intangible Cultural Heritage When Mithrix does his overhead smash, he'll leave pillars of crackling, damaging blue energy in the hammer's wake. The first is the added shockwave damage to his original attacks, which extends the range of these hits to hurt you even if the hammer doesn't connect.
There are two things to watch out for in this phase. In this phase he'll summon in more of the robot enemies to back him up as he attacks with the same moves he used the first round. Mithrix is back, but he's not fighting fair anymore.
I target the flying enemies first, and use the pillars for cover to limit how many enemies can shoot me at once. They have a lot of health but aren't particularly threatening. Pillars appear throughout the room, and Mithrix will summon the Lunar Chimera boss, which is just a collection of the robots you had to fight on the way to his boss chamber. This is basically an intermission from the real fight. If you avoid that overhead smash and don't stand in the center of the map when Matrix comes crashing down from the sky, you should survive easily. That's what to watch out for in this part of the fight. You can also jump over the shockwave, which isn't particularly tall. It doesn't reach the edges, though, so your safest move here is to run to the outside of the room as soon as he teleports. Periodically, Mithrix will warp up into the sky in the center of the arena and come smashing down with his hammer, sending a shockwave rippling throughout the arena.
0 kommentar(er)
