![]() ![]() ![]() Also of note, the game once again uses the nifty trick of placing 3D buildings in the background that turn slightly as you move across the field, which is nifty, if a bit old hat. Well, until the second half of the game, anyway. The portrait areas are all rather nice looking, from the quaint European village theme of City of Haze, to the purely chaotic carnival atmosphere of Nation of Fools, or the rolling dunes of Sandy grave, the levels don’t really run the risk of being forgotten. The castle itself is rather mundane by now, seeing as there’s only so many ways to make a clock tower level and an underground caverns area, but luckily the portraits aspect of the game is here to fix that. Every character is VERY well animated, and the two leads even have a little hidden animation in their sprites as well. I dare say it’s Symphony of the Night caliber. That aside, this is still a wonderful looking game. However, it has bothered some, so if you think you’d be the sort who’d be angry at an old sprite, well, you won’t be happy. Of course, being the sort of person who never got to play Dracula X, and forgot most of the bland and gutted SNES port, this didn’t bother me. Portrait runs a pretty strange gamut, here, one that I’ve only previously seen in some Capcom fighting collections: The sprites in this game range from brand-new to made-in-1993. They wanted to experiment with the castle exploration by having ‘stages’ hiding in portraits throughout the game, and by having the partner system, a la Castlevania III, become a main feature. It’s 2016 and it’s time for the newest Castlevania. Enter Jonathan and Charlotte, the Belmont and Belnades placeholders for this game, who arrive at the castle intent on fighting evil. The anguish of these souls have once again summoned the demonic Dracula’s castle, and an artistic vampire has decided to take advantage of this in a bid for power. With each day, hundreds, if not thousands, of men, women, and children are dying. ![]()
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