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While Zaboru was in etings with Saban discussing Power Rangers, the ZAGE developnt teams were already hard at work beginning production on their newest ga projects.
This month, Zaboru issued a new directive to the three branches of ZAGE: ZAGE Tokyo, ZAGE Osaka, and ZAGE USA. Each team was assigned a major task—one large-scale ga project per studio. These weren't just ordinary assignnts; each ga would require several months of developnt. Zaboru had decided that ZAGE would temporarily halt its usual strategy of releasing monthly titles.
ZAGE Tokyo and ZAGE Osaka were fully invested in the developnt of the ZEPS 3, ZAGE's next-generation 32/64-bit console. The hardware was at a critical stage, and both teams were contributing heavily to system optimization, SDK improvents, and Not to ntion, Zaboru's father, Zanichi Renkonan, had recently made a significant breakthrough—he discovered a reliable thod to integrate DVD and cartridge technology together in the ZEPS 3.
On the other hand, ZAGE USA had pivoted toward software infrastructure—working on an online platform and pushing advancents in multiplayer networking. They were also involved in enhancing the studio's proprietary version of Unreal Engine, aiming to support ZAGE's vision for more expansive and visually impressive gas in the coming years.
With the closure of ZEPS 1 and the retirent of its 8-bit legacy—along with its library of 21 officially released titles—Zaboru wanted the company's next releases to mark a bold new era. He assigned each team to develop a flagship ga, each set for release in October or November, aligning with the post-ZEPS 1 transition.
First, ZAGE Tokyo was assigned a major task. Zaboru asked the team to create a new version of Chrono Trigger, one of the greatest RPGs from his previous world. This wasn't just a tribute project—it was an ambitious remake that aid to elevate the original to an entirely new level. Zaboru didn't want to just recreate the ga; he wanted to refine and enhance it.
The developnt would include improvents to the user interface and significantly upgraded graphics while preserving the core of the story, which Zaboru believed was already near-perfect. The goal was to enhance the experience without losing what made it beloved in the first place. Every detail—from character sprites to environnts and battle animations—would be rebuilt with care .
Zaboru also planned to introduce new side content, expanded character arcs, and possibly full voice acting for key scenes, making it not just a nostalgic project but a definitive version of the ga. He was determined that this title would be rembered as one of the greatest JRPGs in ZAGE history.
In his previous world, Chrono Trigger was considered a tiless masterpiece. Now, with the advancents and resources of ZAGE Tokyo, Zaboru was confident that this reimagined version would earn that sa reputation—and maybe even surpass it. The ga was scheduled for a November release.
Next, for ZAGE Osaka, Zaboru had sothing a little controversial in mind. He planned to develop a brand-new arcade fighting ga: Dead or Alive. While similar in structure to gas like Tekken, Dead or Alive was different in several key ways—it was more streamlined, faster-paced, and yes, it leaned heavily into fan service. Zaboru was fully aware of what that ant, and he was unapologetic about it.
He envisioned the ga featuring high-quality character animations, fluid combat chanics, and what he called "necessary jiggle physics." To so, it might seem like a perverse choice, and Zaboru knew full well that critics would label him a pervert. But he didn't care—he understood the market, especially in Japan. Gas featuring attractive, well-designed female characters had always sold well, and he saw an opportunity to blend that appeal with genuine fighting ga quality.
Zaboru's plan included adding iconic guest fighters to the roster, such as Sarah Bryant from Virtua Fighter and Mai Shiranui from King of Fighters. These characters did not yet exist in this world, and Zaboru intended to introduce them for the first ti through this ga, adding to its uniqueness and future legacy.
More than that, Zaboru wanted Dead or Alive to push technical boundaries. He challenged the Osaka team to develop new 3D animation systems and physics simulations that could be reused in future ZAGE projects. What seed like a "naughty" project on the surface was, in truth, an experintal foundation for expanding their 3D ga developnt using Unreal Engine at its fullest.
Dead or Alive wouldn't just be a fan-service-heavy ga. It would be a robust addition to ZAGE's growing list of fighting franchises, standing proudly next to their existing titles. With a unique cast, striking visuals, and addictive gaplay, Zaboru believed it could carve out its own identity. The arcade version was scheduled for an October release, just in ti to capture attention in both the Japanese arcade scene and overseas.
In Zaboru's eyes, controversy didn't matter if the product was excellent—and Dead or Alive was going to prove it.
For ZAGE USA, Zaboru assigned the ambitious task of creating a groundbreaking sci-fi real-ti strategy ga: StarCraft. Inspired by the massive success the ga had achieved in his previous life, Zaboru knew how influential and genre-defining it had beco. Much like Warcraft, which ZAGE had already developed in this tiline, StarCraft would follow similar strategic gaplay but with an entirely different tone and setting—one rooted in space warfare, futuristic weaponry, and intergalactic conflict between alien races.
This project would challenge the ZAGE USA team in new ways. The ga needed to feature three unique factions, each with its own strengths, units, technologies, and strategies, requiring a careful balance that would define competitive play. Zaboru wanted the ga's art style to reflect the grim and gritty atmosphere of endless space battles, pushing the limits of what RTS gas could visually deliver. From orbital bombardnts to alien infestations, every animation and effect had to imrse players in a war-torn galaxy.
Beyond gaplay, Zaboru also placed strong emphasis on storytelling. He instructed the writers and cinematic teams to create deep lore and rich character arcs that could support not just one ga but an entire franchise. The plan was to integrate highly produced cinematic cutscenes that blended 2D art with in-engine renderings, setting a new standard for storytelling in strategy gas.
The ZAGE USA team was both excited and slightly overwheld, but they were ready. With their growing experience in multiplayer infrastructure, thanks to their recent focus on online platforms, they were also tasked with designing a competitive online mode that could rival anything on the market.
Zaboru aid for StarCraft to beco a global hit—especially in the West—and believed that if developed to its full potential, it could spawn a lasting esports legacy. The ga was scheduled for a high-profile launch in November, tid to cent ZAGE's dominance in both the console and PC markets.
Shigeru Miyamoto sighed. As the leader of ZAGE Osaka, he turned to his colleague and developer, Satoru Iwata, and said, "I can't believe Zaboru-san is actually tasking us with making a ga like this."
Satoru chuckled, clearly more amused than concerned. "Heh, I think it's great, Shigeru-san. This project is helping us learn how to implent 3D jiggle physics—it's advancing our entire 3D ga technology pipeline."
Shigeru let out a small laugh. "Still, don't you think it's a bit much? I an, look at the character designs—they're so... revealing. Does that an, you know... our boss is kind of a pervert?"
Shigeru Miyamoto laughed. "Every man's a bit of a pervert, Shigeru—you just don't know it yet! Besides, I admire how Zaboru-san is always experinting with new ideas. It ans we don't get stagnant or stuck doing the sa thing over and over."
Shigeru nodded slowly, a faint smile tugging at the corners of his mouth. "That part's definitely true," he admitted with a sigh. "Still, I kind of wish we had gotten the Chrono Trigger project instead. The concept really sounds incredible—ti travel, parallel worlds, that sort of epic storytelling. It's the kind of thing I've always wanted to work on."
Satoru chuckled warmly. "Relax. Our boss actually cares about us, you know? He always gives us projects that challenge us in new ways. And besides, wasn't it always you who wanted to dive into arcade developnt? Now ZAGE Osaka is practically leading the charge on arcade and ZGB ga design."
Shigeru sighed again but with less resistance this ti. "Yeah... you're right. We've co a long way. It's just—so days, I wish we could slow down and work on sothing a little more personal, sothing like Chrono Trigger."
Satoru smiled and gave a reassuring nod. "Maybe next ti. For now, let's give this one everything we've got."
The two turned back to their workstations, the buzz of developnt continuing in the background as they settled into the task ahead.
To be continue
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