After officially acquiring Disney, Zaboru continued his routine without missing a beat. The proximity between the Disney headquarters and the ZAGE USA offices made it easy for him to visit both throughout the week. He maintained a steady rhythm—splitting his ti, giving input where needed, and ensuring both companies remained in sync.
Fortunately, the Disney team was running smoothly even in his partial absence, already executing projects based on the groundwork he had laid. Their confidence and montum ant Zaboru could step away without worrying about micromanagent. In fact, the synergy between the two companies seed to energize both teams.
With things under control, Zaboru began considering a brief return to Japan for a couple of weeks. It wasn't a retreat—it was a chance to reconnect with the Tokyo and Osaka teams, review progress on key projects, and perhaps take a short breather before pushing forward into the next phase of expansion.
This month is another good month in ZAGE's video ga division as the company officially released two new titles: one for the Arcade and another for ZEPS 2. The Arcade title was Sunset Riders, while the ZEPS 2 ga was ROBOT VS MONSTER.
Sunset Riders Arcade burst onto the scene as a thrilling surprise to players who hadn't expected a cowboy-thed beat-'em-up to make such a splash. Set in a richly stylized Wild West filled with outlaws, stampedes, and dynamite, the ga invited players into a cartoonishly chaotic frontier. Gars took on the roles of four flamboyant bounty hunters—Billy, Cormano, Steve, and Bob—each with their own unique shooting chanics and personality quirks.
What hooked players instantly was the visual appeal: bold colors, smooth animations, and fluid movent gave the ga an almost cinematic feel. From galloping horse chases and rowdy saloon brawls to intense train-top shootouts, Sunset Riders was packed with cinematic set pieces that felt like you were inside a spaghetti western comic book. Every environnt was buzzing with energy and detail.
Gaplay was tight and intuitive—run, dodge, shoot, pick up power-ups, and survive increasingly dangerous waves of enemies and minibosses. Each level escalated in difficulty and ended with an iconic boss fight. These bosses weren't just visually distinct—they ca with morable, over-the-top voice lines like "Bury with my money!" that stuck with players long after the screen faded to black. Their unique attack patterns and stage designs made every encounter feel fresh and challenging.
Adding to the fun was the multiplayer elent: the ga supported 2-player or 4-player co-op, depending on the arcade cabinet. Playing with friends turned the chaos up to eleven—bullets flying, power-ups being snatched, and loot "accidentally" stolen, sparking laughs and heated but friendly rivalries. This made Sunset Riders not just a ga, but a social experience.
The arcade release struck a perfect balance between accessibility for newcors and depth for veterans. It rewarded fast reflexes, smart pattern reading, and seamless teamwork. For ZAGE, these Sunset Riders are an energetic gem to their growing ga library.
As for ROBOT VS MONSTER, the ZEPS 2 collaboration between Hideo Kojima and Yugo, it quickly beca a fan favorite thanks to its deep customization and imaginative world. The ga featured four unique Homunculus characters—Yugo, Hideo, Albert, and Cassie—each with distinct weapons and playstyles. Yugo specialized in brutal lee combat with his fists, Hideo handled firearms with precision, Albert wielded a versatile sword and shield combo, and Cassie attacked from a distance using energy blasts.
What made the gaplay so engaging was the transformative nature of the characters. Players could upgrade each body part—arms, legs, torso, and head—using either Monster God or Robot God powers. These choices dramatically affected combat dynamics, movent, and vulnerability. Choosing Robot upgrades might grant you powerful rocket-jump legs or precision laser eyes, but they ca with weaknesses like susceptibility to EMPs or water hazards. On the other hand, Monster upgrades turned limbs into bestial appendages—like horse-like legs that increased speed and stamina, or monstrous claws that added devastating lee attacks at the cost of control or defense.
These chanical and organic upgrade paths weren't just costic—they defined how you fought, how you moved through each level, and how you tackled the ga's diverse challenges. Every configuration offered unique strengths and weaknesses, making experintation and adaptation key parts of the experience. The richness of the build system encouraged replayability, with players constantly trying out new combinations to find the perfect synergy for their playstyle.
Multiplayer added another layer of chaos and fun. Coordinating builds with friends beca essential, especially when facing complex bosses that demanded teamwork and varied tactics. Whether players wanted to go full Robot, full Monster, or mix and match parts for a hybrid strategy, the gaplay remained dynamic and rewarding.
ROBOT VS MONSTER wasn't just another action ga—it was a playground for creative combat and strategic decision-making, and it firmly secured its place as a standout hit in ZAGE's growing catalog.
Looking ahead, Zaboru had already laid out a clear roadmap for the coming months. He assigned a major project to the Osaka team: the developnt of Ninja Gaiden 3. Like the previous entries in the series, this installnt would undergo significant gaplay revisions under Zaboru's direction. The ga was targeted for an April release, giving the team a tight but manageable schedule.
anwhile, the Tokyo division continued steady progress on the Tamagotchi project. The virtual pet simulation had already reached a stable build, and internal testing indicated it was polished enough for a March release. Given the rising popularity of handheld devices, Zaboru was confident it would beco a cultural phenonon among both children and young adults.
In addition to those projects, Zaboru carved out a smaller sub-team to focus on another title with nostalgic roots: Dragon Quest 3., he chose to base this new version on the Dragon Quest 5 from his previous life, adapting the chanics and visual style for the ZEPS 2. Dragon Quest 3 was also set for a March 1995 release and was expected to attract longti fans and newcors alike.
Next, Zaboru was nad Person of the Year 1994 by Ti Magazine, earning the spotlight as one of the youngest individuals ever featured on the iconic cover. The magazine praised him as a trailblazing force in the video ga industry, crediting him with helping redefine entertainnt in the 1990s and relieving and elevating gas to a new level of cultural relevance. His innovative business strategies, bold acquisitions, and unmatched creative instincts had not only influenced the industry but sparked a wave of inspiration among young entrepreneurs worldwide.
The article delved into his teoric rise, from his early days selling first ZAS to acquiring one of the biggest entertainnt brands in the world, Disney. It detailed how Zaboru seamlessly rged the Japan and USA Market, turning ZAGE into a global juggernaut. He was now officially one of the youngest billionaires in the world, a tech icon, and—most notably—the new owner of 50% of Disney, a move that stunned Wall Street and Hollywood alike.
His fans around the globe celebrated, and his inner circle—friends, colleagues, and family—were overjoyed by the recognition. Newspapers in Japan printed special editions. Analysts speculated that Zaboru's influence might soon stretch beyond gaming into film, education, or even politics. But Zaboru himself? He didn't let it get to his head. While the world buzzed with praise, he simply shrugged, nodded at the news, and went back to his work schedule like any other day. As for movies or ani, he might consider creating them one day—but politics? Not a chance, not even if he were forced into it. That world held no interest for him.
To him, the spotlight wasn't the goal. Building sothing lasting was. He had already set his sights on what ca next—because, in his mind, awards and accolades were nice distractions, but creating and playing good video gas are his real goal.
Now that March had arrived, Zaboru was fully focused on the next big push for ZAGE's expansion. He began conceptualizing an entirely new range of toys that HanDai would manufacture and distribute. These weren't just spin-offs of existing characters—he aid to develop original, innovative toy lines that could beco hits on their own that exsist from his previous life
He understood that rchandise was more than just an additional revenue stream—it was a cultural foothold. With the right strategy, toys could ignite imaginations, drive up brand loyalty, and unlock cross-dia potential.
For Zaboru, this wasn't just about short-term profits. He was playing the long ga. By 1997, Maximizing revenue now ant more freedom to shape the future. And deep down, Zaboru knew that 1997 wouldn't just be another year. It would be a turning point.
And now he working on ZAGE Japan offices about thinking about which toys to create
To be continued
AN : At first i want the detailed stuff for the TI magazine but i realized that its not even necessary for so i just saying it like this
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