First of all, as the remainder of August unfolded, Zaboru decided it was the perfect ti to assign new responsibilities to his trusted ZAGE teams. The primary teams involved—Team Tempest of the USA, Team Nova, and Team NIWA of Japan—had just wrapped up most of their major deliverables for the month, leaving them available and eager for fresh challenges. With their August objectives nearing completion, Zaboru saw this as an opportunity to keep the montum going by tasking them with new projects tied to the future of ZEPS 3 developnt.
At present, both Team NIWA and Team Nova had two key assignnts each still on their plate. For Team NIWA, one major undertaking was the developnt of "Trails in the Sky FC," a story-rich RPG expected to hit store shelves in early 1999. The second project involved a set of upcoming titles for the ZGBA handheld system, which Zaboru had personally mapped out for them as part of the system's early content roadmap. Similarly, Team Nova was juggling their own set of priorities. One of their tasks was to develop a flagship launch title for the ZGBA, and the other involved working on "Bishi Bashi Special" for ZEPS 3, an arcade-style party ga that was also targeted for a Q1 1999 release window.
Now, with both teams operating ahead of schedule and demonstrating readiness, Zaboru felt confident in assigning them additional responsibilities for the next wave of ZEPS 3 ga developnt.
So for now, Zaboru decided to give Team NIWA—ZAGE's specialized division for developing Japanese RPGs—a new major project. The next title he assigned to them was none other than Dragon Quest 5, which in terms of narrative and scope, would be equivalent to Dragon Quest 7 from his previous life. In this alternate tiline, Dragon Quest 4 was based on what was Dragon Quest 6 in his past world, while Dragon Quest 3 had already borrowed heavily from the structure and character elents of Dragon Quest 5. Thus, Dragon Quest 5 in this world would be treading new ground while drawing inspiration from a familiar legacy.
This new installnt would mark the franchise's debut on the ZEPS 3 system, but Zaboru didn't expect it to be revolutionary like ZAGE's version of Final Fantasy 7. That wasn't the goal. Instead, his vision for Dragon Quest 5 was to evoke the sa emotional resonance and nostalgic charm as the earlier Dragon Quest titles on ZEPS 2. To Zaboru, there was no need to reinvent the wheel when it ca to Dragon Quest's core gaplay. The turn-based combat, traditional progression, and heartfelt storytelling had stood the test of ti—and fans had long been vocal in their desire for a new entry that respected the roots of the series.
What Zaboru found particularly interesting was that, in his previous life, Dragon Quest 7—now reimagined here as Dragon Quest 5—had gained a reputation for being a 'mid' entry in the series. It was often described that way not because it lacked quality, but because of its unorthodox structure and imnse length and compared to other insane JRPG at such ti like FF7. The early hours were especially slow-paced; players would often spend 5 to 8 hours exploring the world before even being introduced to the iconic Job or Vocation system. For many, this made the ga feel uneventful or dull in its opening segnts. However, Zaboru understood the developers' intentions from his past life: they wanted players to fully absorb the intricate world-building, to feel imrsed in every town and storyline before the gaplay systems truly opened up.
Zaboru saw this as an opportunity. By releasing this version of Dragon Quest 5, he could subtly challenge player expectations in this world. He wanted to send a ssage—that not every ga needed to be revolutionary or fast-paced to be aningful. ZAGE, as a company, could also produce a title that so might call 'mid'—and that wasn't a flaw. It was a reflection of diversity in ga design. A 'mid' Dragon Quest still carried everything that made the series beloved: charming characters, touching narratives, thoughtful pacing, and rich lore. If executed well, even a so-called 'mid' ga could win hearts and earn a place in gaming history.
This project wouldn't require an overwhelming amount of manpower, which made it an ideal candidate for Team NIWA to handle alongside their other commitnts. Given the sheer length and content density of the ga, however, Zaboru was realistic about the developnt tiline. He targeted a release around February 1999 and allotted a total of six months for production. While the core gaplay wasn't revolutionary or technologically demanding, the massive script, event sequences, and intricate world-building demanded careful polish and pacing. Zaboru wanted the team to take their ti—not to reinvent the formula, but to faithfully deliver a sprawling, imrsive RPG that honored Dragon Quest's legacy and gave fans exactly what they had been waiting for.
Next up for Team NOVA is a highly anticipated project based on one of ZAGE's most beloved and iconic intellectual properties—Pac-Man. But this won't be the traditional maze-chasing arcade ga that made Pac-Man a household na. Instead, the team will be working on Pac-Man World, a full 3D platforr that reimagines the character and his universe in a bold, modern way. This approach will bring Pac-Man into the sa arena as ZAGE platforrs like Super Mario 64 and Crash Bandicoot, with expansive levels, puzzle elents, and action-platforming chanics designed to appeal to both longti fans and newcors alike.
The decision to greenlight this kind of Pac-Man ga ca from the strong fan response to HELLO-Pacman, a ZEPS 2-era title that introduced players to a more adventurous and narrative-driven version of Pac-Man. Players loved seeing the character outside of his arcade roots, and Zaboru took notice. He wanted to give fans more of what they clearly wanted—an adventure that combines nostalgia with gaplay depth.
This new Pac-Man World won't just be a side project. Zaboru wants it to stand tall among the best in the genre, which ans putting heavy focus on polished gaplay, vibrant world design, and superb visuals that can push the ZEPS 3 hardware to its limits. Team NOVA, with their expertise in platforrs and action gas, are the perfect fit for this undertaking. Their previous works have shown a knack for tight controls, creative level design, and character-driven storytelling, all of which are essential for Pac-Man World to succeed.
Zaboru is giving them around eight months for full developnt, aiming for a polished release around April. That tiline is ambitious but achievable, especially with NOVA's current montum and their proven developnt discipline. The goal is simple: create a standout platforr that redefines what Pac-Man can be in the modern gaming era—fresh, fun, and unforgettable.
Even in Zaboru's previous life, Pac-Man World wasn't just a simple rebranding of the classic arcade maze formula into a 3D platforr—it stood as one of the best and most well-rounded platforrs of the entire PS1 era. It wasn't rely a spinoff or novelty project; it was a fully fleshed-out ga that surprised players with how responsive, polished, and satisfying it felt from a gaplay perspective. The platforming chanics were tight and reliable, the movent fluid, and the level design cleverly integrated Pac-Man's identity with the broader 3D exploration genre.
What made Pac-Man World shine was the richness of its world. There was a real sense of adventure in exploring its levels, collecting fruit and tokens, and uncovering hidden secrets. The environnts were colorful and diverse, ranging from haunted castles to underwater caverns, each with their own the and hazards. On top of that, the ga featured a catchy and energetic soundtrack that stuck with players long after they put down the controller. Its musical score added charm and identity, elevating the experience beyond just good gaplay.
The comparisons to Crash Bandicoot were frequent, and not without rit. In fact, the similarities were a strength. Pac-Man World embraced the best elents of what made Crash Bandicoot so successful—tight linear stages, creative enemy designs, and strong character animations while layering in a distinct Pac-Man flavor that made the ga feel unique rather than derivative. And that was never a bad thing. After all, Crash Bandicoot was one of the most beloved and iconic platforrs on the PS1. For Pac-Man World to be ntioned in the sa breath was a testant to its quality, and a clear indication that it wasn't just another attempt to modernize a retro icon—it was a legitimately great ga in its own right.
Next for Team Tempest USA, Zaboru realized they still had enough bandwidth to take on one more projects . Given the team's versatility and love for chaotic, over-the-top gaplay, he decided to assign them a particularly exciting and nostalgic task: developing Rampage: Universal Tour. This wasn't going to be a re remake or lazy rehash of the arcade experience. Instead, Zaboru envisioned sothing much larger—a definitive version that would combine and reimagine both Rampage World Tour and Rampage 2: Universal Tour from his previous life into a single, content-rich ZAGE title.
In arcades Rampage is one of the first ZAGE arcade and Rampage had already cented itself as a beloved multiplayer brawler, famous for its dumb fun and raw, unfiltered chaos. Players adored smashing buildings, devouring civilians, and competing for destruction supremacy. Zaboru wanted to bring that exact sa spirit to the ZEPS 3 console space but elevate it further with a more robust narrative, deeper chanics, and extended content. When the ga begins, players will start as the original trio of rampaging monsters—George the gorilla, Lizzie the lizard, and Ralph the werewolf. These classic icons will be the stars of the initial chapters, allowing fans to relive the nostalgic joy of their destructive adventures.
However, Zaboru planned a unique twist. As the campaign progresses, George, Lizzie, and Ralph will be captured in an epic story event, and that's when the second wave of monsters is introduced—Boris the rhino, Curtis the mouse, and Ruby the lobster. Each will have their own distinctive abilities, animations, and attack styles to keep gaplay fresh and dynamic. In addition to rging the best features from the original two Rampage sequels, Zaboru also wanted to introduce new boss fights, global locations, hidden collectibles, and possibly even short cinematic cutscenes to give the story more flavor. It wouldn't just be about destroying cities anymore—it would be about building a crazy universe of monsters with morable personality and gaplay depth.
He was also aware that ZEPS 3 had more than enough horsepower to support four-player gaplay. But in a conscious decision rooted in legacy, Zaboru chose to retain the traditional three-player format. That was the classic setup of ZAGE's original Rampage arcade machine, and sticking to it would feel more authentic. To him, authenticity mattered more than technical showboating—especially when the goal was to evoke nostalgia while also delivering new thrills.
With this direction, Zaboru was confident that Rampage: Universal Tour would be ready for release by March 1998, giving the team a total of seven months to develop it.
And that wraps up the tasks assigned to the ZAGE teams for August. As for the gas scheduled to release in August, there are three notable titles: Tales of Destiny, Baldur's Gate, and Pokémon Stadium. Let's just say—they're performing quite well.
To be continued...
Please give your power stone and if you want to support and get minimum 35 advance chapter and additional 1 chapter a week for 4$ considering subscribe to my patreon patreon/Zaborn_1997
Or buycoffee sbuyacoffee/Zaborn_1997 which sa with patreon
current Patreon/buycoffe chap 938
User Comments
0 comments from readers