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Chapter 721 ZAGE January 1997
🕑 Added 2025-10-20 02:07:32 +0000 UTCIn January of 1997, several major developments unfolded at ZAGE, starting with the official opening of the ZAGE USA offices in Silicon Valley. This new complex is officially named "ZAGE Campus." Unlike the towering skyscraper-style Tokyo office, which climbs high into the skyline, the ZAGE Campus in California was built with a different philosophy—it has only 15 floors, but stretches wide across the landscape. This design allows the facility to accommodate a vast number of rooms and departments, prioritizing spaciousness and functionality over vertical height.
ZAGE Campus was designed with both employees and the public in mind. Similar to the ZAGE Tower in Japan, the campus is surrounded by four key facilities: a gym, a tavern, an official merchandise store, and an arcade. The gym is exclusively reserved for employees, promoting health and wellness within the workforce. Meanwhile, the tavern, store, and arcade are all open to the public, allowing fans and visitors to engage with the ZAGE brand directly on-site. The arcade in particular has become a popular hangout spot, often packed with visitors trying out the latest in ZAGE’s arcade store or just hanging out with friends.
The opening of ZAGE Campus made waves in the media, with global news outlets highlighting it as a major milestone in ZAGE’s international expansion strategy. The architecture itself, blending sleek design with Silicon Valley’s tech-savvy culture, captured attention. Industry analysts noted that ZAGE was no longer just a big gaming company—it was now becoming a global creative powerhouse with strong roots in both Japan, United States and soon across the world.
Zaboru also structured the USA division of ZAGE in a similar way to the setup in Japan. However, at this early stage, he chose to start with just two dedicated teams for the U.S. operations—Team Tempest and Team Enigma. These two teams would serve as the foundation for ZAGE USA’s growth and specialization in key areas of game development.
Team Tempest was tasked with leading the charge on PC game development, focusing not only on producing high-quality titles but also on pioneering advancements in online gameplay. Their roadmap included long-term projects such as establishing a fully functional online game store—an ambitious undertaking, especially considering the limitations of internet speed and infrastructure in 1997. Despite these challenges, Zaboru was confident that by laying the groundwork now, ZAGE could position itself as a leader in online gaming by the turn of the century.
Meanwhile, Team Enigma was formed to handle a different but equally critical role. Their focus would be on creating cutting-edge arcade titles and developing new games for the ZEPS console series. Additionally, Team Enigma would spearhead research into advanced arcade technologies, exploring ways to enhance interactivity, graphics, and the overall player experience in arcade environments. This included experimenting with new hardware designs, control systems, and immersive audio-visual enhancements.
By investing in both PC and arcade development simultaneously, Zaboru hoped to ensure that ZAGE USA wouldn’t just replicate the Japanese division’s success—but carve out its own identity and creative strengths in the American gaming scene.
Just like in Japan, ZAGE USA continued to grow rapidly, with both Team Tempest and Team Enigma gaining new members throughout January. The expansion brought a noticeable boost to productivity, and with their teams now more capable, Zaboru began assigning them new projects to handle alongside their existing work.
At the moment, the USA division had only one major project underway—Counter-Strike, a groundbreaking first-person shooter in development by Team Tempest. Scheduled for release in February, the project was already running on a tight deadline. Zaboru decided not to overwhelm the team further and simply let them focus on delivering the best version of the game they could.
On the other hand, Team Enigma received two new assignments. The first was a creation of ActRaiser for the ZEPS 2 console, a project scheduled for release in March. Zaboru believed this classic action-platformer with simulation elements could make a strong debut in this world.
The second assignment was even more ambitious: Dance Dance Revolution 2, a new entry in the hit arcade rhythm game series. Unlike its predecessor, Zaboru wanted this sequel to raise the bar significantly. He envisioned a next-level experience with expanded features, including a broader song selection and the introduction of brand-new playable characters even bands. While the core gameplay and arcade cabinet setup would remain the same, the content and presentation would be taken to new heights.
With a planned release window in May Team Enigma had ample time to fine-tune the experience. Zaboru knew it would be a demanding project—but also one that could leave a lasting impact on the arcade scene. He made it clear that this wasn't just a sequel; it was an evolution of everything Dance Dance Revolution stood for.
And this month of January ZAGE are releasing two games Final Fantasy 5 and Bloody Roar.
Final Fantasy V, as expected, sold successfully upon release, continuing the strong tradition of the franchise. Despite the hype surrounding the newly released 32-bit console from Sonaya, which remains the hottest topic in the gaming industry right now, many players still show strong loyalty and affection for ZAGE’s games. Rather than being swayed entirely by the new technology, a significant portion of the player base continued to support ZAGE’s 16-bit releases.
Fans of the series flocked to buy Final Fantasy V, knowing exactly what they were in for—an epic RPG adventure that lived up to their expectations. With its deep story, compelling character arcs, and refined gameplay, the title offered everything longtime players of the franchise were hoping for. It was another solid entry that reinforced ZAGE’s reputation for delivering rich, immersive RPGs that didn’t rely on the latest hardware gimmicks to succeed. The game’s performance proved that quality and legacy still matter greatly in an increasingly competitive gaming market.
And next came Bloody Roar—a game that caused a seismic shift in the fighting game genre. ZAGE didn’t just release a good fighter—they launched a phenomenon. The excitement was immediate and explosive. Visually, the game stood out as one of the most impressive titles in arcades at the time, even surpassing their recent 3D fighter, Dead or Alive. This accomplishment made one thing clear: ZAGE was improving fast, and they weren’t holding anything back.
But the game wasn’t just eye candy. What really drove people wild was its innovative gameplay. Bloody Roar introduced a transformation mechanic where every character could morph into a beast form. Each transformation brought a new moveset, different abilities, and a massive boost in power, making every match unpredictable and full of momentum shifts. The mechanic turned standard fighting gameplay into something far more dynamic and strategic. You never knew when your opponent might shift into their beast form and change the flow of battle.
Zaboru based Bloody Roar heavily on the version of Bloody Roar 2 he remembered from his previous life. He made sure to bring that advanced level of polish and design forward into this earlier timeline, essentially pulling a future classic into the present.
Another highlight was the diverse and memorable cast of characters. Each fighter had their own fighting style, beast transformation, and personality, which created a rich variety of matchups and fan-favorite picks. The roster included:
Bakuryu (Mole)
Uriko Nonomura (Cat)
Stun (Insect/Mosquito)
Shina (Leopard)
Jenny Burtory (Bat)
Hajime Busuzima (Chameleon)
Shenlong (Tiger)
Yugo Ogami (Wolf)
Alice Tsukagami (Rabbit)
Alan Gado (Lion)
Jin Long (Tiger)
Prince Adam (Lion – Beauty and the Beast)
Prince Adam in particular drew attention. Based on the classic fairy tale, his inclusion added a layer of lore and crossover appeal. Unlike other fighters, he didn’t have a separate human form—instead, he had a “default” state that was already beast-like, and a second, more feral transformation. It gave him an edge and a mystique that made him a fan-favorite almost instantly.
With Bloody Roar, ZAGE didn’t just release a new fighter—they lit a fire under the entire arcade scene. Players were hooked, rival fans were debating, and ZAGE had once again pushed the boundaries of what an arcade game could be.
The release of Bloody Roar sparked an intense and widespread discussion between Sonaya fans and ZAGE fans, igniting fierce debates across online forums, arcade lounges, and even schoolyards. ZAGE fans, filled with pride, quickly took to the forums shouting, “Look here! ZAGE just dropped Bloody Roar! A 32-bit arcade experience that rivals anything on consoles!” The excitement was infectious, and for many ZAGE followers, the game was proof that their company still top of food chain in video game industry.
However, Sonaya fans weren't impressed—or at least, they pretended not to be. Many responded with smirks and dismissive comments like, “It’s just an arcade game,” brushing off the transformation mechanic and graphical leap as nothing more than gimmicks. Their tone wasn’t subtle, and their mockery added fuel to the fire. They argued that arcade success didn't matter as much in the new age of 32-bit home consoles, and that ZAGE was behind in the real gaming arena beside for now Sonaya don't have impressive fighting game title that comparable to Bloody Roar.
With Team IZAN and Team NIWA having successfully completed one of their major tasks, Zaboru wasted no time in assigning them new responsibilities to keep the momentum going. For Team IZAN, he introduced an exciting new project: a 2D fighting game titled Fatal Fury. Zaboru envisioned this game as a spiritual successor to the classic SNK series from his previous life King of Fighters,
However, Zaboru made a deliberate decision to avoid using the King of Fighters title—he had long-term plans for that specific name and wanted to reserve it for something even bigger down the line.
As for Team NIWA, Zaboru handed them yet another wild assignment—none other than MEGAMAN X. At the time, the team was still deep in the development of MEGAMAN 7, a demanding project on its own. But Zaboru simply chuckled and called it a worthy challenge, his usual mix of madness and confidence on full display. Of course, as was his style, he didn’t leave them empty-handed. He provided a detailed blueprint and a thick development folder packed with references, gameplay outlines, and concept art.
Despite the workload, the team was energized by the opportunity. Zaboru’s version of MEGAMAN X wasn’t just a sequel to Megaman game instead its like spin off
His timeline was just as aggressive: he planned for MEGAMAN X to release by April. The schedule was tight, but Zaboru was confident in Team NIWA’s discipline and talent.
Aside from video games, ZAGE’s Nickelodeon subsidiary SABAN Entertainment officially released Power Rangers to the U.S. audience in early January. Even though only four episodes had aired by the end of the month, the response was explosive. Kids were hooked from the first episode, and the buzz spread like wildfire. Social circles, school hallways, and even toy store shelves were swept up in the excitement as the show captured imaginations across the country. The sleek suits, explosive action, and giant robot battles became instant favorites among American viewers.
The show's overwhelming success created an unexpected surge in demand for merchandise. Power Rangers toys began flying off the shelves faster than retailers could restock them. ZAGE’s toy and video game subsidiary, HanDai ZAGE, struggled to keep up with the demand, triggering production ramp-ups and logistical challenges. Parents were lining up outside stores, eager to grab the latest action figures, Zords, or morphers for their kids. It was clear that Power Rangers had become more than a show—it was a full-blown cultural event.
But that wasn’t the only success story. ZAGE's dominance extended beyond Western media. Japanese anime, airing through Nickelodeon’s subscription television programming block, had also exploded in popularity. Titles like Gundam Let's and Go and Beyblade drew large audiences, fueling a rise in the sales of Gunpla model kits Mini 4 wd and Beyblade. Hobby shops saw lines of both kids and adult collectors eager to get their hands on the latest models, and online forums buzzed with discussions about custom builds, kitbashes, and animated episodes.
Between the roaring success of Power Rangers and the skyrocketing popularity of anime like Gundam, Lets n go and Beyblade, ZAGE found itself dominating not only the gaming scene, but also the broader landscape of entertainment. Their presence in TV, toys, and anime gave them a cultural grip that no other media company could match.
And now in early February Zaboru in peril or happiness?
To be continue
