Outside of video ga releases, Zaboru assigned each ZAGE team with additional tasks to prepare for the months ahead.
ZAGE Osaka is currently focused on developing the Rurouni Kenshin ga for the ZEPS 2, but Zaboru has also assigned them two additional projects scheduled for release in December. Both are for the ZGB platform: the shoot-'em-up classic R-Type DX and the quirky platforr Wario Land 2. These gas will go into production later, allowing the Osaka team to concentrate fully on Rurouni Kenshin for the ti being without being overwheld by overlapping deadlines.
Next up, ZAGE Tokyo is still focused on developing Streets of Rage 2 Arcade, which remains their primary project. However, Zaboru has assigned them two additional tasks. The first is a Pac-Man title called Hello! Pac-Man, scheduled for a November release. The second is the classic evolution-based RPG E.V.O.: Search for Eden, set for December. Zaboru made it clear that both gas must et ZAGE's high standards, and he plans to oversee their progress closely to ensure smooth delivery and quality execution.
The USA team is currently focused on the October releases of Clock Tower for PC and House of the Dead for arcades—both tid perfectly for a Halloween-thed launch. In addition to these projects, Zaboru has given them another major task: developing The Elder Scrolls II: Arena, a sequel to The Elder Scrolls. He expressed interest in having the RPG ready for a December release, but left room for flexibility, allowing a delay if necessary. Once the October gas are completed, Zaboru plans to allocate the full strength of the U.S. team to Elder Scrolls II, which will significantly boost its developnt pace.
Next for Outside Video gas.
YaDo has officially launched its subscription-based TV service—a relatively new concept for Japanese audiences. However, thanks to the strong branding as a ZAGE product, the service gained rapid traction. People were eager to try it, and they were delighted to discover a broad library of ani, cartoons, and animated movies. It didn't take long for YaDo TV to go mainstream, with subscribers pouring in nationwide.
Recognizing the montum, Zaboru gave Yasu Domachi a new challenge: to expand ani production even further. He expressed his desire to recreate more ani titles which are from his previous life and asked Yasu to scale up operations. Yasu, always passionate about the dium, was thrilled at the opportunity.
Zaboru made it clear that profit wasn't his primary goal in the ani sector. For him, the mission was personal—reviving the shows he once loved, regardless of the financial return. Fortunately, YaDo had already built a strong reputation in Japan, and its parent company, ZAGE, was known for paying animators fair wages—unlike many others in the industry. As a result, top-tier talent from across the country was eager to work there, further fueling the studio's growth and creative potential.
ZAGE is now seen as a saint-like figure in the ani and manga industry. Their publishing company, Hakushensha, is praised for paying mangaka exceptionally well, while YaDo is equally admired for offering fair and competitive wages to animators. Many in the ani and manga community have co to view Zaboru Renkonan as a true benefactor of the industry—soone who is raising standards rather than exploiting talent.
However, not everyone is happy. So traditional ani and manga companies are furious, claiming ZAGE is disrupting the financial status quo. By setting a new bar for how creators should be compensated, ZAGE is forcing older companies to reconsider their practices. Even giants like Shonen Jump, once the undisputed king of manga publishing, and animation powerhouse Toei are feeling the pressure.
Next up are Nickelodeon's subscription services, which initially launched in the USA and are now beginning to expand into Europe—with positive results. The ani featured on Nickelodeon has been especially well-received by Arican audiences. Viewers are praising the fresh, unique animation styles that offer sothing they've never seen before. This strong reception has led to a noticeable surge in demand for Nickelodeon subscriptions across the U.S.
In addition to the ani lineup, Nickelodeon's original programming continues to thrive, further boosting the platform's appeal. With both nostalgic favorites and new hit shows, the service has positioned itself as a major contender in the streaming space.
Ani is also bringing unexpected benefits to Japan. Many Aricans have beco deeply fascinated with Japanese animation, and this enthusiasm is now sparking a growing interest in learning the Japanese language. In fact, reports this month show a slight but noticeable increase in Aricans signing up for Japanese language courses. The Japanese governnt couldn't be happier with this developnt, recognizing that ZAGE is playing a major role in promoting Japanese culture abroad. This only strengthens ZAGE's reputation as one of the governnt's most valued companies.
As a result, when executives from traditional powerhouses like Toei or Shueisha—the owner of Shonen Jump—raise concerns that could potentially harm ZAGE, the governnt tends to look the other way. From their perspective, upsetting companies like Toei and Shueisha is a small price to pay compared to the cultural and economic value ZAGE is now delivering to Japan.
Next, Zaboru decided to pull a prank—sothing both petty and hilarious. He was still irritated at Sonaya for planting spies within ZAGE, and he hadn't forgotten the layout of their office in Japan. So, one night, ard with a collection of live bugs he'd either purchased or caught himself, Zaboru snuck into Sonaya's Tokyo offices and scattered them all over the floors.
By the end of the week, the building was dealing with a full-blown bug infestation. News of the outbreak even made it into local papers, much to Zaboru's satisfaction. He couldn't help but laugh every ti it ca up. anwhile, Hikaru Kurata—Sonaya's CEO and major shareholder—was furious. He suspected foul play and was convinced the bugs weren't natural, but he had no proof. Zaboru's sneaky operation had left no trace.
Next, Zaboru began contemplating whether ZAGE should make a move into Hollywood. Of course, with his knowledge of countless iconic films from his previous life, he could easily begin recreating them. But after careful thought, he ultimately decided against it—for now. The film industry requires not just creativity, but also intense dedication, constant involvent, and strong relationships with actors, directors, and producers. Zaboru simply didn't have the ti or desire to imrse himself in the complex and often chaotic world of movie production.
Maybe one day, when ZAGE is fully prepared and has the infrastructure to launch sothing as massive as a Marvel Cinematic Universe, he'll reconsider. But at this mont, Zaboru has chosen to stay out of Hollywood and focus on the areas where ZAGE already thrives.
Next, Zaboru was contacted by the Oriental Land Company, the group currently managing Tokyo Disneyland through a licensing agreent with Disney. The CEO personally visited Zaboru, recognizing him as the majority owner of Disney, to discuss the extension of their licensing rights for Disney characters. However, Zaboru saw this as an opportunity and proposed sothing new: allowing the inclusion of ZAGE characters within the park's offerings—though it would still be called Disneyland for now.
Oriental Land politely declined, stating that they weren't ready to expand or refurbish the park just yet. Zaboru understood their position and didn't push further. Instead, he told them that while he personally had no objections to extending the rights, they would need to go through Disney USA to finalize any agreents.
As for the parks, Zaboru is also planning to build a dedicated ZAGE the park in Japan. However, before moving forward, he needs to secure a suitable plot of land—ideally sowhere near the upcoming ZAGE Tower. With the ZAGE Z-Offices in Silicon Valley still under construction, his attention is currently divided. Still, he remains committed to the vision. In the future, he not only wants to open multiple ZAGE the parks but also dreams of establishing a ZAGE Museum to showcase the company's legacy, characters, and cultural impact.
And now, there's so good news regarding both the ZAGE Tower currently under construction in Japan and the ZAGE Z-Offices in Silicon Valley—progress on both sites is moving steadily, with positive reports from each developnt team.
To be continue
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