Castlevania: Portrait of Ruin - Wikipedia
spoiler free as you can get while still listing boss names. I hope you I'm also a regular at the Castlevania: Portrait of Ruin boards at gamefaqs. Portrait of Ruin is the first Castlevania to feature a cooperative multiplayer gameplay mode . Jonathan is the current wielder of the legendary whip, " Vampire Killer", which was . As the four of them leave, they end up forgetting about Vincent, who is .. Charlotte: Then what's your relationship with the two girls in the photo?. A description of tropes appearing in Castlevania: Portrait of Ruin. A new vampire has taken control of this castle: a Mad Artist by the name of Adam Smith Hates Your Guts: Vincent is incredibly ungrateful for Charlotte rescuing him from vampirism. About the only thing that changes is his dialogue in the ending, he doesn't.
I know that John had his reasons. Aren't you glad, Jonathan? I just don't get it Why did the Belmonts give this thing to the Morris family?! If not for this, we would have been spared so much pain! Because the Belmonts cannot touch the whip now. It is predicted that Dracula will be revived in year I've heard that the Belmonts must not touch the Vampire Killer until then. Others have appeared to revive Dracula in the meantime.
Somebody has to stand up and stop them. And only the Morris family is able to do that! At least I finally know the truth about my father and the whip. Still, are you okay with this? This job that we have to do is gonna end up hurting your own daughters. I wonder if there's a chance we can save those two if I use some kind of purification spell The chances are very slim. You should know that. Even I never knew how to do it. I appreciate your sentiments, but I am resigned to their fate.
For placing this burden upon you. I'll just do what I can.
Castlevania: Portrait of Ruin (Video Game) - TV Tropes
The hunter leapt into the air, and felt Trevor's strength surge through him as swung the Vampire Killer forward, the whip a glowing line of holy light.
The attack collided with Dracula, and the sheer power of the attack send him flying backwards to the other end of the room. With a shout, Jonathan charged towards Dracula, who, with a beat of his massive wings, began rushing to meet him. Jonathan spun the Vampire Killer at blinding speed, the weapon growing brighter white as it's holy power continued to increase.Castlevania Portrait of Ruin Playthrough (14) - Dracula & Death Battle (Best Ending)
Dracula paused in hesitation, surprised by the power he sensed from the weapon — not even being wielded by a Belmont. Jonathan, however, did anything but. Lashing out with the whip, the holy weapon cut like a blade, causing Dracula to recoil in pain. A crack of the whip; Jonathan felt Leon's power behind the blow, the swing cutting across Dracula and leaving a shining trail behind it.
A backhand strike, and Trevor was beside him. Each blow brought the vampire no pain; rather, the attacks aimed to cut the very dark energy that surrounded him and gave him his power and form.
That was the third, each attack representing representing a portion of Dracula's strength — symbolized by his eye, his fang, his claw, his rib, his heart, and his ring — and the Belmonts' attack against it. Jonathan spun in the air with Juste's agility, letting his momentum lend more power to the whip's strike. With that blow, Jonathan brought the whip backwards and over his head, gripping the handle with both hands.
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Dracula slashed forward with his left claw, attempting to prevent the hunter from finishing the maneuver. The strike cut deep, but Jonathan was unfazed by the attack. There was a blinding explosion of light and an unearthly scream of pain from Dracula as the holy power tore him to pieces, his corporeal form disintegrating before the holy power.
The completion of the attack, however, ended the divine state Jonathan had been in, and he collapsed to the ground, bleeding heavily from Dracula's final strike. Jonathan apologized weakly, and the witch repeated the chant for her healing spell, slowly closing the gashes on Jonathan's chest.
But that was all the spell could do; it couldn't replace lost blood or restore energy. Jonathan leaned heavily on her, making it difficult to set a decent pace.
At the bottom of the steps leading to the keep, the two were forced to stop so that Charlotte could rest for a moment. His voice was serious; uncharacteristically so. I'm not leaving you behind! We get out together His vision dimmed for a moment but he ignored the disorienting feeling.
Charlotte stumbled for words at first, a blush growing on her cheeks at the implication. Luckily, a teleportation room was nearby and that would put the two of them right by the exit to the castle.
She cast a glance around, and saw nothing; turning, she called to Jonathan. A blinding white light filled the room, and Charlotte felt the familiar feeling of disorientation as the magic did it's work. When the light faded moments later, the two were in the entrance hallway. The castle shook again, with random bits of stone falling from the ceiling, making it apparent the pair had little time to waste. Charlotte turned to look for Jonathan, and rushed to his side when she saw him unconscious up against the wall.
Not even bothering for him to fully come to, the witch pulled him to his feet and began heading for the door.
She'd only managed a few steps, however, before she lost her balance and fell against the wall. I'm more worried about you," the mage said as she guided him towards the castle gate.
The castle shook again, and the pair were nearly knocked to the ground. Jonathan was in no condition to fight, so Charlotte left him to stand against the wall while she sent them back to the grave. Just as she had taken them out, however, Castlevania shook violently, knocking the mage to the ground.
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A large portion of the castle's stone wall broke off from the quaking, crashing down the on entrance to the castle. Charlotte turned to look, gasping in surprise. He was about to respond, but then something occurred to him. He knew that if she thought he was alive, she would stay, trying to figure out a way to get him out. But if he were dead, she may actually save herself The thought made Jonathan feel sick to his stomach, but it was logical.
He had a feeling he wasn't going to make it out of Castlevania alive She cursed her own lack of physical strength; she couldn't even move the smallest chunk of stone. She gave the ruined entrance one last look before turning around, her eyes closed as she tried not to cry. Taking a few deep breaths to try to steady herself, Charlotte open her eyes and ran out the gate as fast as she could, not looking back, and not stopping until she reached a field far from the castle, where she found Eric waiting.
Then she realized what he meant; with Castlevania gone, his presence would fade as well. After losing Jonathan, it was hard for her to feel more for Eric's departure. As the spirit faded from sight, Charlotte suddenly processed what Eric had said. Jonathan still had that with him, back in the castle! Or at least, that's what she had thought, until she realized something else was hanging from her belt along with her spellbook. The witch took the whip in her hands and stared at it, wondering how Jonathan had managed to give it to her without her realizing.
As for other stuff, I actually was going to have both Jonathan and Charlotte die in the fight with Dracula, having the Count manage to strike a killing blow on Jonathan before he completed the stylized Greatest Five attack.
That got thrown out, obviously. Then, I was going to have Charlotte confess her love for Jonathan after he had 'died', and have Eric speak with him before the castle actually collapsed so Jonathan could at least let her know her feelings were not unrequited.
I got rid of it because it was mostly just non-implied Jonathan x Charlotte shipping for no reason. A new vampire has taken control of this castle: And things are different under his rule. The castle keep is unassailable; it is blocked by magic produced by a large number of magical paintings positioned around the castle. Brauner is almost impossible to find, and the main evidence of his presence is the occasional appearance of his twin vampire daughters.
A mysterious ghost has been spotted, and he seems to be completely immune to Brauner's influence. And not even Death is happy with this sequence of events. No, wait, make that "Death's especially unhappy with this sequence of events". And to top it all off, Jonathan can't even use his whip correctly. Portrait of Ruin is a Nintendo DS game released in to coincide with the 20th anniversary of the Castlevania series.
It boasts a two-character tag system that allows the two characters to work together frequently, an experience-based subweapon system for Jonathan and casting time-based magic system for Charlotte, and a number of non-castle venues accessible via the various portraits. Extra characters and level limits extend the replay value, including one mode controlled entirely with the touchscreen. Portrait of Ruin provides examples of: Adam Smith Hates Your Guts: Vincent is incredibly ungrateful for Charlotte rescuing him from vampirism.
About the only thing that changes is his dialogue in the ending, he doesn't have the courtesy to reduce his prices for items. Ain't Too Proud to Beg: Brauner if you defeat the Sisters rather than purify them and trigger the bad ending. He gets on his knees and outright begs you not to hurt his "daughters" more. The circus levels are both ring-shaped, and while gravity for the playable characters and items is always down, everything else is oriented based on its position in the level.
In fact, from her perspective, Medusa is bending over backward for her boss fight, and when she dies, she collapses to the ceiling.
Eric Lecarde/Portrait of Ruin
If you fight Medusa in the Boss Rush mode, she collapses to the floor instead. American Kirby Is Hardcore: This is probably the result of him being 27 years older in Portrait of Ruin. The basic exploratory nature of the Metroidvania titles remains the same, except that now you can enter paintings with their own mini-world levels in them.
Some of the paintings depict settings that just don't normally occur in Castlevania, such as a massive underground pyramid full of Egyptian mummies, a twisted war-torn carnival of the damned, or an early 20th Century European city.