Aside of Smash Bros Hype Zaboru assigned the team that completed these months ga into new task, he didn't want any montum to be wasted especially after such a massive release, so every team that had just wrapped up their project were imdiately redirected into new developnts with clearer goals and tighter coordination across divisions.
First, Zaboru assigned a new task to the Japanese Team Nexus, as they had already completed Soul Calibur 2. The next project would be another fighting ga, this ti Bloody Roar 2. After the success of Bloody Roar 1 in arcades, it was the perfect ti for the franchise to continue and evolve further. Zaboru wanted this sequel not only to refine the fast-paced transformation combat, but also to significantly improve animation fluidity and impact, allowing players to truly feel every hit and transformation.
This version would reach the graphical level of the PS2 version of Bloody Roar, featuring sharper character models, smoother transitions, and more detailed stages. However, Zaboru decided to keep the original character designs from the first Bloody Roar, as they were already iconic and beloved by arcade players. Instead of redesigning them, he preferred to enhance their expressions, animations, and personality through gaplay improvents.
He also planned to introduce more interactive stages and slightly expand the roster, while carefully preserving the core identity of the series so it wouldn't lose its charm. With a focused developnt pipeline in place, Zaboru expected the ga to be completed within 14 months, targeting a release in November 2000 as one of the key fighting titles supporting both ZAGE's arcade and console ecosystem.
For Team Nexus USA, Zaboru assigned them two major tasks. The first one was House of the Dead 2, which would serve as a significantly upgraded version of House of the Dead 1, not just a simple sequel but a full evolution of the arcade shooter experience. The second project was Landing, a flight simulator ga inspired by the famous arcade simulator from Japan in Zaboru's previous life, a title known for its realism and imrsive cockpit experience.
Zaboru gave the team around two years for Landing, as he wanted them to push the boundaries of arcade simulation. He expected improvents not only in visual fidelity, but also in control systems, realism, and player imrsion. He wanted the cabinet design itself to feel premium, with better feedback, smoother motion, and a more engaging overall experience so that players would feel like they were truly piloting an aircraft rather than just playing a ga.
As for House of the Dead 2, Zaboru set a more aggressive tiline. He expected it to be released in October 2002, but with major upgrades across the board. The graphics needed to be significantly improved, with better enemy models, more detailed environnts, and enhanced lighting to increase the horror atmosphere. At the sa ti, the controller system also had to be refined, making shooting feel more responsive and satisfying, ensuring that every trigger pull delivered impact. Zaboru wanted this title to stand as one of the definitive arcade horor shooter experiences under ZAGE, capable of drawing crowds just like its predecessor, but with a much stronger and more polished presence.
For Team OMNI, after successfully completing NBA 2K and WE 2000, Zaboru wasted no ti and imdiately assigned them their next projects, NBA 2K1 and WE 01.
For NBA 2K1, Zaboru emphasized smoother player movent, better crowd atmosphere, and more imrsive match presentation, making each ga feel alive and energetic. anwhile, for WE 01, he wanted improvents in ball physics, player control, and tactical depth, ensuring that both casual players and hardcore fans could enjoy the ga at different skill levels. With a steady developnt pace and strong foundation from their previous titles, both gas were expected to be released in August next year as flagship sports entries for ZAGE.
Next for Team NOVA, now that Smash Bros was completed, they were finally free and fully prepared to take on a much heavier workload. This ti, Zaboru entrusted them with a total of five gas, placing them firmly among the senior ZAGE developnt teams. The expectation was not just quantity, but also creativity and versatility, as Team NOVA had proven that they could handle a wide range of genres while maintaining high quality across all of them.
First ga on the list is Crash Bandicoot 3 : Warped, a title that Zaboru considered extrely important for maintaining strong montum in the platforr genre. This ga would introduce many new characters as well as new types of gaplay chanics in the Crash Bandicoot series, expanding beyond the traditional running and jumping formula into more varied and creative level designs. Zaboru wanted this entry to feel fresh and exciting, making players constantly surprised by what each level had to offer.
He also planned to enhance the pacing of the ga, ensuring that it remained fun and engaging without becoming repetitive, while also improving animation quality and responsiveness so the controls would feel smoother than ever before. The variety of gaplay, from vehicle sections to unique stage chanics, would beco one of the defining strengths of this installnt.
With a well-prepared developnt structure already in place, Zaboru expected the team to complete the ga within one year, targeting a release in September 2001 as one of the key platforr titles under ZAGE, capable of attracting both casual players and longti fans of the series.
The next project is Bomberman World, as the Bomberman franchise has not yet received any entries on ZEPS 3, making this their first appearance on the platform. Zaboru saw this as a great opportunity to reintroduce the series with a slightly fresh direction. Unlike the usual Bomberman formula, Bomberman World combines traditional bomb-based gaplay with light adventure elents, allowing players to explore stages more freely rather than being confined to purely grid-based arenas.
However, Zaboru understood that the original Bomberman World in his previous life had pacing issues, often feeling a bit too slow and less engaging over ti. Because of that, he specifically instructed the team to slightly increase the overall speed of gaplay, making movent more responsive and explosions feel more impactful, while still keeping the strategic depth that defines Bomberman.
At the sa ti, Zaboru wanted to make sure the multiplayer aspect remained strong, as that was one of the core identities of the franchise. He planned to enhance multiplayer modes with smoother controls, better stage variety, and more chaotic fun, ensuring that both solo and group play would feel equally enjoyable.
With a clear direction and a well-prepared developnt structure, Zaboru gave the team 11 months to complete the project, targeting a release in August 2001 as a solid and refreshing entry for Bomberman on ZEPS 3.
The next ga is Cyborg Kuro-chan, and yes, this was originally an ani-based ga in Zaboru's previous life, but in this world it will beco a fully original title since the ani does not yet exist. Zaboru saw this as a rare opportunity to build the identity of the series from the ground up, allowing the ga itself to define the characters, tone, and world before any other dia adaptation could shape it.
This ga will be a beat 'em up featuring the cyborg cat Kuro alongside Matatabi, combining fast-paced action with codic and chaotic monts that reflect the unique personality of the characters. It was one of the gas that Zaboru genuinely loved in his previous life, not because it was complex, but because of its charm, simplicity, and fun factor, sothing he wanted to preserve while still improving it significantly.
Zaboru planned to enhance the combat system to feel more responsive and satisfying, adding better hit feedback, smoother animations, and more dynamic enemy interactions so the gaplay wouldn't feel repetitive over ti. He also wanted to expand stage variety, introduce more cat cyborg, introduce more expressive character movents, and slightly deepen the chanics while keeping it accessible for casual players.
With a clear vision and strong direction, Zaboru expected the ga to be completed within a tight schedule, targeting a release in August 2001 as a fun and energetic beat 'em up title that could stand out among ZAGE's growing lineup.
Next for Team NOVA, Zaboru gave them another unique task, which was to create a horror ga, Parasite Eve. Usually, Team NOVA had never taken on horror projects before, but they welcod the challenge with excitent, as it was a chance to step outside their comfort zone and explore a completely different genre. Zaboru intentionally gave them a longer developnt ti, allowing them more freedom to experint with atmosphere, storytelling, and gaplay chanics that define a strong horror experience.
In Zaboru's previous life, Parasite Eve was considered a very unique and morable ga because it combined multiple genres in a way that felt fresh at the ti. It wasn't just a horror ga, but also mixed elents of RPG systems with real-ti combat, creating a hybrid gaplay style that felt both strategic and intense. Players didn't just fight enemies, they had to think, manage positioning, and react carefully, which made every encounter feel aningful and engaging.
Another reason why Parasite Eve stood out was its setting and presentation. Instead of the usual haunted houses or fantasy worlds, it took place in a more realistic urban environnt, which made the horror feel closer and more believable. The story itself was also deeper, blending science fiction concepts with horror thes, giving players sothing intriguing to follow rather than just relying on jump scares. This combination of narrative, atmosphere, and gaplay made it one of the most distinctive titles of its ti.
Because of that, Zaboru wanted Team NOVA not just to recreate the ga, but to elevate it further. He encouraged them to refine the combat system so it would feel smoother and more dynamic, improve environntal storytelling, and enhance the emotional tension throughout the ga. With the extended tiline and strong direction, Zaboru expected the ga to be completed and released in October 2002 as one of ZAGE's standout horror titles.
Next ga Zaboru asked Team NOVA to make was Paper Mario, a project he considered both creative and strategic for expanding ZAGE's RPG lineup. This would be a unique RPG using the Mario cast as its main characters, but with a distinct paper-like art style, sothing that in Zaboru's previous life felt extrely charming and visually morable. Instead of focusing purely on realism or high-end graphics, this ga would stand out through its style, personality, and presentation, making it instantly recognizable among other titles.
Zaboru wanted the team to fully embrace the "paper" concept, not just as a visual gimmick but as a core part of the gaplay itself. He encouraged them to experint with chanics such as flipping environnts, interacting with flat objects, and using creative transitions that would make the world feel alive despite its simple appearance. This approach would allow the ga to feel fresh and playful, appealing to both younger audiences and RPG fans looking for sothing different.
In terms of gaplay, Zaboru aid for a more accessible RPG system compared to traditional ZAGE JRPGs, combining light turn-based chanics with interactive elents so players would stay engaged during battles rather than just selecting commands. He also wanted the story to have humor and heart, giving the characters more expressive dialogue and personality, sothing that would make the journey morable rather than just another standard RPG progression.
With a strong concept and a well-prepared developnt plan, Zaboru gave Team NOVA exactly one year to complete the project, targeting a release in September 2001. He expected Paper Mario to beco one of ZAGE's most charming and distinctive RPG titles, proving that creativity and style could stand alongside technical power in defining a great ga.
With all teams already receiving their new assignnts and developnt pipelines moving forward smoothly, Zaboru took a brief mont to shift his focus. Now, he turned his attention to the future of ZAGE's arcade division, deciding to personally discuss it with Nando Michio, as the direction of arcade growth would play a crucial role in their overall strategy.
To be continue
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