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Tobal No. 1, released in 1996 for the PlayStation, is a unique and intriguing entry into the fighting game genre. Developed by DreamFactory and published by Squaresoft, it was notable not only for its engaging gameplay mechanics but also for its groundbreaking 3D graphics, which were among the best in its time. Let’s dive into an in-depth review of Tobal No. 1, exploring its story, gameplay, graphics and sound, as well as its legacy and reception.
Story
Tobal No. 1 is set in a science fiction universe where the planet Tobal hosts the annual Tobal Tournament. The tournament is organized by the empire’s ruler, Emperor Udan, and is open to fighters from across the galaxy. It serves as a platform for combatants seeking glory, riches, and the rare mineral Molmoran, which is found only on Tobal. This mineral is highly coveted due to its mysterious properties and potential for technological advancement.
The story revolves around a diverse cast of characters, each with their own motivations for entering the tournament. For instance, Chuji Wu, the main protagonist, is a young fighter seeking to prove his strength. Other characters include Oliems, an android seeking the mineral to improve his systems, and Hom, a mysterious being with hidden motives. Each character’s backstory adds depth to the overall narrative, making the tournament more than just a series of fights but a convergence of personal quests and ambitions.
Gameplay
Tobal No. 1 is renowned for its innovative gameplay that combines traditional fighting game mechanics with dungeon crawling elements. The game features two primary modes: the Tournament Mode and the Quest Mode.
Tournament Mode
In Tournament Mode, players engage in one-on-one battles against the roster of fighters. The combat system stands out for its depth and complexity. Unlike many fighting games of its era, Tobal No. 1 utilizes a free-movement system that allows players to move in all directions within a 3D space. This mechanic offers a level of strategic depth and realism uncommon in other fighters of the time, as players must consider their positioning and movement to outmaneuver opponents.
The game employs a grappling system, which adds another layer of strategy. Players can execute a variety of throws and counters, making each encounter not just about button mashing but also about tactical thinking. The control scheme is intuitive, with each of the four buttons on the PlayStation controller corresponding to different limb attacks, allowing players to string together combos fluidly.
Quest Mode
Quest Mode is where Tobal No. 1 truly differentiates itself from other fighters. In this mode, players explore 3D dungeons, battling enemies and solving puzzles to progress. The dungeon crawling aspect introduces RPG-like elements, as players collect items and power-ups that enhance their abilities.
The objective in Quest Mode is to reach the bottom level of the dungeons, where players face off against powerful bosses. This mode is not only a test of fighting prowess but also of exploration and resource management, as players must navigate labyrinthine corridors while conserving health and items. The combination of fighting and RPG elements in Quest Mode adds significant replay value and provides a refreshing break from the standard fighting game formula.
Graphics and Sound
Tobal No. 1 was a pioneer in utilizing the PlayStation’s 3D capabilities to deliver stunning visuals for its time. The game features smooth, polygonal character models that move fluidly within the 3D arenas. The attention to detail in the character designs and the vibrant, varied environments contribute to an immersive fighting experience.
The game’s art style, characterized by its bright colors and distinct character designs, was created by Akira Toriyama, famed for his work on Dragon Ball. This collaboration brought a unique aesthetic to the game, making it instantly recognizable and appealing to fans of Toriyama’s work.
In terms of sound, Tobal No. 1 features a dynamic soundtrack that enhances the gameplay experience. The music varies between energetic tracks for battles and atmospheric tunes for dungeon exploration. The sound effects are crisp and impactful, further immersing players in the action-packed world of Tobal.
Legacy and Reception
Upon its release, Tobal No. 1 received positive reception for its innovative mechanics and impressive graphics. Critics praised the game’s fluid combat system and the addition of Quest Mode as a fresh take on the fighting genre. The game’s unique blend of fighting and RPG elements set it apart from its contemporaries, earning it a dedicated fanbase.
Tobal No. 1’s legacy is also marked by its role in popularizing 3D fighting games. It demonstrated the potential of 3D graphics in enhancing gameplay depth and realism, paving the way for future titles in the genre. Moreover, the inclusion of a demo disc for Final Fantasy VII with the game’s initial release in North America significantly boosted its popularity, as many players were eager to get a glimpse of the highly anticipated RPG.
Despite its critical success, Tobal No. 1 did not achieve the commercial success of other fighting games of its time, such as Tekken or Virtua Fighter. However, it remains a cult classic, remembered fondly by fans for its innovation and distinctive style.
Conclusion
Tobal No. 1 stands out as a unique and influential title in the fighting game genre. Its combination of traditional fighting mechanics with the exploratory elements of dungeon crawling set it apart from other games of its time. The game’s impressive graphics, engaging sound design, and the creative input of Akira Toriyama add to its lasting appeal.
Though it may not have reached the commercial heights of other titles, Tobal No. 1’s impact on the genre is undeniable. It pushed the boundaries of what a fighting game could be, introducing new ideas that have influenced subsequent games. For fans of fighting games and those interested in video game history, Tobal No. 1 is a fascinating and rewarding experience that continues to be celebrated for its innovation and distinct charm.
