In the month of August, several important developnts took place. First of all, the tasks assigned to various ZAGE teams had been successfully completed. Team NEXUS Japan, which focused on arcade gas, finished their projects Taito No Tatsujin and Mortal Kombat Armageddon. At the sa ti, Team NIWA completed their work on Suikoden 2, while Team Enigma finalized their project Road Rash Jailbreak.
With these projects completed, Zaboru was ready to assign new tasks to each team. For Team Nexus Japan, he prepared two new projects. The first was Guilty Gear X2, a sequel to Guilty Gear. However, Zaboru did not want it to simply follow the arcade version from his previous life. Instead, he wanted this ga to push boundaries, especially in terms of visuals.
Zaboru envisioned a graphical style inspired by Guilty Gear XRD, which was released in 2014 in his previous life. While he fully understood that achieving that exact level of graphical fidelity was impossible with current hardware, his goal was to replicate the style, the visual impact, and the fluidity of animation as closely as possible.
Because of this ambitious direction, Zaboru allocated a longer developnt period for the project. He gave Team Nexus Japan around two years to complete it, aiming for a release around August 2002. This extended tifra was ant to ensure that the team could experint, refine, and ultimately deliver a visually outstanding fighting ga that would stand out in the industry.
The next project was another fighting ga, Dead or Alive 2. This ti, Zaboru wanted Team Nexus Japan to expand beyond just 2D fighting gas and fully explore 3D as well. He understood that Dead or Alive in the arcade scene was already very popular, and naturally, it required a proper sequel to maintain and grow that montum.
However, Zaboru did not want this to be just a simple continuation. He made it clear that for Dead or Alive, two aspects were absolutely critical, graphics and character design. The visual appeal of the characters, their animation, and the overall presentation had to stand out imdiately, as that was one of the defining traits of the series.
At the sa ti, he emphasized that gaplay should not be neglected. While visuals would attract players, the depth, responsiveness, and fluidity of combat were what would keep them engaged long-term. Because of that, he instructed the team to balance both aspects carefully, ensuring that neither would overshadow the other.
Zaboru also wanted the ga to feel like a step forward rather than just an upgrade. He encouraged the team to experint with movent, physics, and interaction within the 3D space.
Due to these expectations, Zaboru set a developnt period of 15 months for Team Nexus Japan, aiming for the ga to be ready by November 2001. This tiline was tight, but still manageable, pushing the team to work efficiently while maintaining high quality.
Zaboru wanted Team Nexus to focus heavily on next-generation graphics, using this project as a stepping stone toward the future. At the sa ti, the team would also begin working with the next-generation Unreal Engine that was being prepared for ZEPS 4.
This approach served multiple purposes. Not only would it elevate the visual quality of their current projects, but it would also allow the team to gain early experience with the new technology. By doing this, Zaboru ensured that when ZEPS 4 officially arrived, the developers would already be familiar with the tools and capable of pushing them to their limits.
In a way, it was a long-term investnt hidden within a short-term project, truly achieving two goals at once.
Aside from this, Zaboru prepared another task for Team NIWA, and this ti it was none other than Trails in the Sky 2nd Chapter. This sequel had been highly anticipated, especially since the first installnt ended on a strong cliffhanger that left many players wanting more.
Zaboru understood the importance of delivering a satisfying continuation, so his primary focus for this project was to ensure that the story and overall experience remained solid and consistent with what players loved from the first ga.
However, when it ca to graphics, Zaboru made a deliberate decision. He did not want the visual aspect to change too drastically from Trails in the Sky First Chapter. By maintaining a similar graphical style, the team would be able to reuse many existing assets and models, significantly speeding up developnt without sacrificing quality.
This approach allowed Team NIWA to focus more on narrative depth, character developnt, and refinent of gaplay systems rather than rebuilding everything from scratch.
Because of this streamlined direction, Zaboru allocated a total of 7 months for developnt. Team NIWA was completely confident in handling the task within that tifra, as the foundation was already well established.
With everything aligned, the project was scheduled to be completed by March 2001.
The last team was Team Enigma in the USA. After completing Road Rash Jailbreak, it was ti for them to move on to a new project. This ti, the ga Zaboru chose was inspired by sothing from his previous life, Syphon Filter. However, instead of simply copying it, Zaboru wanted to significantly enhance the overall gaplay and bring it closer to what a modern third-person shooter should feel like.
Back when Syphon Filter originally existed, third-person shooters were still in their early stages. Developers were still experinting, and there was no clear standard on how to properly present or control that type of ga. It wasn't until Resident Evil 4 introduced the now-famous shoulder cara that the genre truly evolved into sothing more refined and imrsive.
Because of that, Zaboru wanted to implent this shoulder cara system into Syphon Filter in this world, effectively pushing the genre forward earlier than it originally did. The goal was to make the ga feel more good, more precise, and more engaging, allowing players to have better control and a stronger sense of imrsion during combat.
However, the ga would not be limited to shooting alone. Syphon Filter also included elents of platforming and puzzles, and Zaboru intended to enhance all of these aspects equally. He wanted the experience to feel balanced, where action, exploration, and problem-solving all contributed to the overall gaplay.
He also encouraged the team to refine level design, enemy behavior, and pacing, ensuring that the ga would not just feel like a technical upgrade, but a complete evolution of the concept.
Because of this ambitious scope, Zaboru allocated a total of 13 months for Team Enigma to complete the project, targeting a release around September 2001. The tiline was demanding, but with a clear direction and strong foundation, it was sothing the team could realistically achieve while delivering a high-quality result.
Aside from this, Team MYTH of China was also progressing very well. Zaboru personally guided them closely, ensuring that they built a strong foundation in both technical skills and developnt discipline. At this stage, they were assigned relatively simple tasks, such as porting gas from ZEPS 3 to PC and vice versa.
However, these projects were not intended for official release. Instead, they served purely as part of the team's learning process, allowing them to understand different architectures, optimization techniques, and workflow pipelines in a controlled environnt.
Through these exercises, Team MYTH gradually improved, becoming more confident and efficient with each task they completed. Zaboru paid close attention to their progress, occasionally giving direct feedback to refine their approach and correct mistakes early.
His goal was clear.
By mid-September, Team MYTH would be fully prepared to take on their first three official projects, transitioning from a learning phase into a true developnt role within ZAGE.
anwhile, ZAGE's August releases were performing very well. Suikoden 2, as expected, was selling like hot cakes among JRPG fans. The demand was strong from the very beginning, and more importantly, players were not disappointed with what they received.
The ga successfully built upon everything that made Suikoden 1 beloved. It retained the core elents that fans appreciated, while enhancing them in aningful ways i t felt like a complete evolution of the original, delivering exactly what they had hoped for and even more.
Then there is Road Rash Jailbreak, a ga filled with chaotic gaplay, over-the-top monts, and a surprisingly entertaining mix of humor and gimmicks. The experience is fast-paced and unpredictable, with players constantly engaging in wild races, aggressive encounters, and unexpected situations that keep every match feeling fresh.
The ga's codic elents and exaggerated style add an extra layer of enjoynt, making it not just about racing, but about the overall experience of chaos and fun. Its chanics encourage interaction, whether through direct competition or playful disruption, which makes it especially enjoyable in multiplayer settings.
Because of this, Road Rash Jailbreak stands out as a ga that doesn't take itself too seriously, instead focusing on delivering pure entertainnt and replayability, particularly when played with friends.
As for the two arcade gas, fans are especially delighted. Finally, Mortal Kombat has received its first major sequel, and the reception has been overwhelmingly positive. The shift to full 3D graphics while maintaining 2D gaplay imdiately caught the attention of arcade goers, creating a familiar yet refreshed experience that feels both modern and faithful at the sa ti.
The impact was instant. Players gathered around machines, watching matches unfold with smoother animations, more detailed character models, and enhanced visual effects that made every hit feel heavier and more satisfying.
But what truly surprised players was the sheer number of characters. Compared to previous Mortal Kombat titles, this installnt expanded massively, featuring around 50 characters in total. This created a strong sense of variety, as every player could find soone that matched their playstyle.
Classic characters returned, such as Scorpion with his iconic spear attacks and aggressive close-range pressure, Sub-Zero with his precise control and freezing techniques, and Liu Kang with his balanced fighting style and powerful combos. At the sa ti, new characters were introduced, bringing fresh chanics and styles into the ga.
For example, a new fighter like Kira emphasized speed and relentless offense, while another like Drahmin focused on heavy, punishing strikes with slower but devastating impact. Characters like Kenshi added a unique twist with telekinetic abilities, allowing for mid-range control that felt different from traditional fighters.
Because of this, fans were excited to try each character one by one, experinting with movesets, combos, and strategies. It wasn't just about winning matches, it was about discovering what each fighter could do and how they fit into the overall roster.
The arcade scene quickly beca lively, with players forming small crowds, sharing tips, challenging each other, and reacting loudly to intense fights. Mortal Kombat had once again beco a central attraction in arcades, but now on a much larger and more dynamic scale.
Then there is Taito no Tatsujin, a ga that many people begin to associate with ZAGE in a similar way to how Guitar Hero would be seen in another era. It is an incredibly fun arcade experience, simple to understand but surprisingly deep once players get into it.
In arcades, it quickly becos a gathering point. Friends and families often play it together just for fun, laughing as they try to keep up with the rhythm, while others take it more seriously, challenging themselves with the hardest songs available.
So players focus on perfect timing, trying to achieve flawless scores, while others enjoy the energy and atmosphere, hitting the drums with enthusiasm even if they miss a few beats. This contrast creates a unique environnt where both casual and competitive players can enjoy the ga in their own way.
The physical interaction also adds to its appeal, players are actively moving, striking the drum, feeling the rhythm through their actions. It creates a more imrsive and engaging experience that stands out imdiately.
Because of this, Taito no Tatsujin , it feels like an event. It brings people together, creates monts of excitent, and introduces sothing fresh to the arcade scene.
And that was everything August brought to ZAGE, a month filled with progress, successful releases, and carefully planned future projects. As ti moved forward, the calendar had already shifted into early September.
To be continue
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