Following the release of Titan Drive, which truly shook the video ga industry, November unfolded with several unexpected developnts.
First, Titan Drive’s montum continued strongly. Sales remained high, and although many players couldn’t afford the premium 16 console, its success was undeniable which makes Sonaya really pleased.
In the world of ani, Sailor Moon officially ended its run this month, leaving fans both emotional and eager for a second season. Taking its place on TV Tokyo was *Gundam *also created by YaDo Animation which debuted to strong reception. The first episode was well-received, signaling another potential hit.
In manga, Hakushensa’s Weekly Shonen Shock and Monthly Shonen Shock magazines continued to thrive, with strong sales and growing popularity among readers mainly because the manga magazines proudly feature the ZAGE logo, attracting a growing fanbase of devoted ZAGE enthusiasts.
anwhile, in the United States, Zaboru directed the ZAGE USA team to focus on three major arcade projects: Tekken, Dance Dance Revolution, and a new arcade ga Mortal Kombat. Zaboru, recalling Mortal Kombat’s unique motion capture style from his previous life, was determined to bring that sa distinctive approach to life. Using motion capture to record real human movents and translate them into pixelated action gave the ga an iconic look. Even if the result wasn’t realistic by modern standards, the unique charm and visual style defined Mortal Kombat. Back in his previous world, many were surprised the first ti they played Mortal Kombat. Most players would exclaim, "Wait, are those real people?" Though the visuals looked a bit goofy and even humorous at tis, the ga’s charm was undeniable. Zaboru aid to release the arcade version by January 1994.
Surprising everyone, ZAGE made headlines this month with yet another groundbreaking arcade release. While most assud Titan Drive’s launch would eclipse ZAGE, the ZAGE struck back with OutRun, a revolutionary driving arcade ga. Featuring steering wheels, gas pedals, and brake systems like a real car, OutRun offered an unprecedented experience. Players were blown away by the level of imrsion. With options for manual or automatic transmission and a first-person driver perspective, the 16-bit graphics didn’t dampen the thrill. Many praised ZAGE’s continued innovation in gaming. OutRun quickly beca a fan favorite in arcades. Despite the relatively steep price of 100–200 yen per play, players flocked to experience its groundbreaking realism and imrsive design. The novelty of the gaplay kept them coming back. It was clear to everyone—ZAGE wasn’t backing down in the gaming industry. Ironically, Sonaya’s slogan for Titan Drive, "Play Arcades at Ho," backfired spectacularly. As gars pointed out, there was simply no way to replicate the full OutRun arcade experience at ho.
To boost the ga’s reach, Zaboru launched a TV comrcial for OutRun, showing a group of players racing in the real world, then seamlessly transitioning into OutRun gaplay. The ad was a hit. Even non-gars, tech experts, and electronic enthusiasts praised OutRun as a technological marvel.
On the comic book front, Zaboru made waves at Marvel with the release of his Deadpool comic. Written and drawn by Zaboru himself, utilizing his extraordinary abilities of Deep mory Dive and Enlightennt, which allowed him to improve rapidly, stay energized longer, and retain information with ease The comic was completed with impressive speed and polish. Fellow Marvel artists were stunned by Zaboru’s remarkable skill and output. Even Stan Lee was left speechless, his jaw dropping as he observed Zaboru’s talent firsthand. Previously, Stan had seen Zaboru only as a clever investor and a video ga professor—but now, he recognized him as a gifted artist and a true genius. Stan was especially excited to see how Deadpool approached comic storytelling from a fresh and unorthodox perspective. He even offered Zaboru advice, which Zaboru gladly received and applied. Stan’s praise deeply moved Zaboru, filling him with pride and a renewed sense of purpose.
The story of Deadpol itself followed Wade Wilson’s transformation through experintation with Wolverine’s healing factor, leading to his evolution into Deadpool. As expected, the comic was filled with satire, brutal action, and fourth-wall-breaking humor—even taking jabs at other Marvel and ZAGE characters. The modern art style and bold storytelling captivated readers, and the fact that Zaboru’s na was featured on the cover only increased the hype. The comic beca a bestseller, and Zaboru committed to continuing the series personally.
Readers were genuinely surprised by Zaboru’s ability to craft a compelling comic book. Readers praised Zaboru with astonishnt, marveling at his ability to produce such a high-quality comic book on top of already creating groundbreaking video gas and composing music. Many began speculating about what he might do next—could it be manga? A movie?. What was certain, however, was that Zaboru’s fanbase was growing rapidly.
Even his father, Zanichi, was astonished and read the Deadpool comic with joy. The experience reignited Zanichi’s long-dormant desire to create manga, stirring mories of his youthful ambitions. While he now considered pursuing his dream once more, for the ti being, ZAGE still needed him the most.
Zaboru also tasked Nickelodeon, an animation company partially owned by ZAGE and already airing SpongeBob—to begin preparations for Marvel animated series. The first project: a Spider-Man TV series, slated to begin in five to six months.
All in all, November 1993 proved to be a defining month for ZAGE. While Titan Drive dominated headlines, ZAGE pushed back with bold innovation and creative energy on multiple fronts.
To be continued.
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