Castlevania portrait of ruin vincent vampire ending a relationship

Charlotte Aulin/Dialogue | Castlevania Wiki | FANDOM powered by Wikia

castlevania portrait of ruin vincent vampire ending a relationship

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. Vincent: By order of the church, I have been awaiting you. To think that the master of the legendary Vampire Killer would come here! A blessing indeed .. and ruin to everything of beauty. Jonathan: If (Stella and Loretta vanish, leaving a locket behind). Jonathan: Charlotte: Then what's your relationship with the two girls. So anyway, Vincent, you had some business with me? like that blush mugshot in the bad ending:giggle: Jonathan, Charlotte, game script (c) Konami, Castlevania I just got Portrait of Ruin a few days ago and I love it. I know that Iga said that their relationship was platonic but she's 16 at this point so it.

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.

castlevania portrait of ruin vincent vampire ending a relationship

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. 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. Another Side, Another Story: After the main game, the Sisters' story ends the only way it could end. When you fight him, he paints on an easel with blood, making a pattern on the screen that damages you when you touch it.

He also uses Art Initiates Life to summon monsters by painting them. True, we don't see our heroes or the main antagonists naked, but monsters like the Harpy, are completely nude with nipples! Death can change his cloak color from the standard black in which he's weak against spells and resistant to physical attacks to white in which he resists spells but is weak against physical attacks and back again throughout the battle.

Castlevania Portrait of Ruin: Sisters Mode VS Dracula

The Skull Bartender enemy does this as its attack. Beethoven Was an Alien Spy: Charlotte learns how to turn herself and Jonathan into toads. This is required to progress and is also the first step to reaching the true ending. The true ending, in which Dracula is defeated and Stella and Loretta are free of the curse, but Eric's spirit must pass on.

Brauner or his "daughters" could easily kill both Charlotte and Jonathan at any time during the game, and even state as such when the protagonists meet Brauner, but rather than just doing that and then getting on with their evil plans they just leave the protagonists to break through Brauner's painting worlds.

As a result by the time the villains do decide to actually fight the protagonists the heroes have become strong enough to beat them.

  • Entrance (Portrait of Ruin)/Dialogue

Whip's Memory, which takes the form of Richter Belmont and serves as the training needed to unlock the Vampire Killer's true power. The scythe flew from the being's skeletal fingers and lodged itself in the ceiling. Charlotte was at his side in a moment, chanting a healing spell to close his wounds. Dracula pulled his cloak around him, and Charlotte felt a strong surge of mana as he did so.

Death's form wavered for a moment, before disintegrating into pitch dark black blotches that flew around the two hunters and into Dracula's rapidly darkening form. A powerful burst of energy knocked the two hunters off of their feet, sending them flying into the wall behind them. Jonathan struggled to look through the pain as he sat slumped against the wall.

Dracula, using Death's power, had transformed, now a hideous winged demon nearly as tall the the throne room itself. The hunter cast his glance to the side, looking for Charlotte, only to see her lying unmoving beside him. Bruises and small cuts stained the girl's skin, but her injuries were less than Jonathan's. We don't have time for this! Jonathan looked up and saw Dracula pulling Death's scythe from the ceiling, obviously in preparation for some sort of attack.

Swearing under his breath, Jonathan picked the witch up, one arm under her knees and another under her shoulders. Dracula spun the scythe in his clawed grip, a blood red aura gathering around it as the speed increased. Then, with a gesture from his free hand, two more appeared spinning at his side. With a shout, he sent the first towards his two foes.

Diving out of the way, Jonathan gave thanks that Charlotte was so light; with the injuries he had now, it was really all he could do just to pick himself up. But the hunter knew if he didn't, both he and Charlotte would definitely be killed. Giving Jonathan little time to recover, Dracula sent the second scythe towards Jonathan, the blade tearing up the stone along it's path as though it were no more than the carpet atop it. Diving again, the hunter evaded the weapon the same way as the first.

Pain shot through his body as he landed on the ground, but he ignored it, forcing himself to his feet again. Just one more time Leaping forward again, Jonathan thought he felt Charlotte stir in his arms as he hit the ground. Maybe he was just imagining it. But no; the mage's eyes fluttered open and her deep blue eyes met his. Jonathan removed his arms from under Charlotte and got to his knees, managing a pained smile. She gasped when she saw the form the Count had taken. At that very moment, Dracula reared back and slashed the air before him, sending a blue wave of energy towards the pair.

Each dodged the opposite direction, allowing the wave to pass harmlessly between them. However Dracula did not simply leave it at that. As soon as he unleashed the attack, he charged forward with a beat of his wings, directly for Jonathan. The shout was useless; Jonathan could clearly see Dracula coming at him, even with his vision as dim as it was, but he lacked the energy to dodge.

The Count brought his claw forward, thrusting it into Jonathan's chest, lifting the hunter off the ground. Dracula didn't stop there, continuing forward and slamming Jonathan into the stone wall.

The hunter did not even cry out in pain from the impact, falling forward limply onto the Count's hand. With a flick of his wrist, Dracula tossed the hunter aside into the rubble. Jonathan turned his head, and found that he seemed to be standing, albeit in pitch darkness, nearly causing him to lose his balance. Before him stood a man in black armor, covered mostly with a white coat with red trim.

Save for the length of the tails, it was not too dissimilar from Jonathan's own. Jonathan looked down at the whip he still held in his hand. He did feel a strength; the holy power flowing through it.

He searched his memories, trying to recall any information that could tell him who each of them were. May you find victory.

Castlevania: Portrait of Ruin (Video Game) - TV Tropes

His gaze immediately found the demonic form of Dracula, who was currently pushing Charlotte into a corner, casually deflecting her spells and slowly advancing upon her. He still had several bleeding cuts on his face alone, and bruises everywhere else, but that didn't matter to him.

Only Dracula and Charlotte were important now. With a shout, Jonathan charged forward, feeling Leon at his side, granting wings to his feet. 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.

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.

castlevania portrait of ruin vincent vampire ending a relationship

With that blow, Jonathan brought the whip backwards and over his head, gripping the handle with both hands. 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.

Charlotte Aulin/Dialogue

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.

Entrance (Portrait of Ruin)/Dialogue | Castlevania Wiki | FANDOM powered by Wikia

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.

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.

castlevania portrait of ruin vincent vampire ending a relationship

He knew that if she thought he was alive, she would stay, trying to figure out a way to get him out.