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Chapter 550: Little Time Skips to 22 December
🕑 Added 2025-07-31 02:35:12 +0000 UTCOn Friday, 7 December 1994, ZAGE and TOEI finalized a historic and transformative deal: ZAGE now holds complete ownership of all rights associated with Super Sentai, having purchased the franchise for a staggering 4 billion yen — a record-breaking sum in the entertainment industry at the time. The news reverberated across Japan’s media and pop culture circles, dominating newspaper headlines and evening television reports. For fans of ZAGE, the announcement was electrifying. Their beloved company had taken control of one of Japan’s most iconic Tokusatsu series, and the excitement only grew when company founder and CEO Zaboru offered a brief but impactful interview to the press. In it, he shared his personal attachment to the Super Sentai universe and his ambitious vision for its future, leaving fans both reassured and eager for what was to come.
Zaboru explained that he acquired the Super Sentai rights not for commercial gain, but out of a deep-seated passion for the franchise. His dream was to create new television shows and video games that honored the spirit of the original series while appealing to a fresh generation of fans. In a bold move, he promised to give Super Sentai his fullest creative energy and announced a new series in future. Zaboru thinking , Rather than continue with the existing timeline, Zaboru decided to fast-forward to Kyoryu Sentai Zyuranger, feeling it was the right entry point for modern audiences. To bring this vision to life, he enlisted Kyotaro Shinomori’s production company, Rekka Studio, to handle development of the revitalized series, emphasizing authenticity, storytelling, and dynamic production values.
Currently, Rekka is hard at work producing Kamen Rider Black, which is slated to air in 1995 as part of ZAGE’s expanding Tokusatsu lineup. Zaboru also planned that Kyoryu Sentai Zyuranger would make its highly anticipated debut in 1996, coinciding with the release of a brand-new Ultraman series. His grand vision for 1996 is to have three major Tokusatsu productions airing simultaneously: Kamen Rider Kuuga, Kyoryu Sentai Zyuranger, and Ultraman Tiga, he signaling a new golden era for Japanese superhero television. In preparation for this ambitious goal, Rekka will dedicate all of 1995 to developing and refining Kamen Rider Black RX, ensuring it meets the high standards set by fans and the company alike.
In terms of video games, Zaboru is gearing up to release a highly anticipated sequel to Z-Man for the ZEPS 2 console in the coming year. In addition, he's greenlit development on an all-new spin-off title tailored specifically for handheld consoles, aiming to expand the franchise’s reach and cater to gamers on the go.
Meanwhile, development of the AKAI Phone — a mobile device created by AKAI, now a phone company under ZAGE's growing tech portfolio — is progressing steadily and with purpose. The phone is on track for release in early 1995, likely landing in either February or March. Zaboru is already commissioning a set of exclusive games tailored for the device, aiming to tap into the non colored gaming phone Additionally, he and his marketing team are brainstorming a bold and catchy advertising campaign that emphasizes affordability and homegrown innovation. With this strategic push, Zaboru intends to challenge Nokia's market presence by presenting Japanese consumers with a cost-effective, high-quality alternative rooted in local design and technology.
On the Japan-side of ZAGE, Zaboru has decided to delay the release of Pokémon Gen 2 (Pokémon Gold and Silver). He feels that launching the titles in December would place too much on players' plates, particularly with the high-profile release of Super Metroid this same month. Rather than risk market oversaturation, Zaboru opted for a more strategic timeline. As a result, Gold and Silver are now slated for a late January or early February 1995 release. This adjustment comes despite the games already being in a polished, near-complete state.
As for Super Metroid, the game’s development is running smoothly and is scheduled for release on 22 December.
Back at the Tokyo branch, Zaboru is preparing something entirely new: a device called Digimon: Tamagotchi. He believes it’s the perfect moment to introduce Digimon to the world. This compact handheld virtual pet is designed to allow users to raise, train, and battle digital monsters — a completely fresh concept at the time. The hardware is slated for release in March or April 1995 and is being positioned as both a toy and an interactive experience. In Zaboru's previous world, this device became a massive cultural phenomenon by the late '90s, especially among children and teenagers. He hopes to recreate that same excitement and impact in this timeline by getting ahead of the curve.
Outside of work, Zaboru turned 21 years old on 15 December and celebrated his birthday with quiet warmth, choosing to spend the evening with just his family and girlfriend. They shared a small homemade cake, exchanged heartfelt gifts, and enjoyed a peaceful night of conversation and laughter. Though the celebration was modest, the intimacy and sincerity of the moment made Zaboru feel truly content and grateful. It was a reminder of the simple joys in life that meant the most to him.
Meanwhile, Ayumi — Zaboru’s girlfriend — released the sequel to her first game:
Karate Bunny 2: Mixed Martial Arts.
The game once again stars Buntei the Karate Bunny, now featuring three new martial arts styles: Taekwondo, Boxing, and Kung Fu. In this sequel, Buntei can dynamically switch styles during gameplay, each unlocking unique move sets and stances. The gameplay artfully blends beat-’em-up action with classic platforming elements, while allowing players to perform simplified, intuitive combos reminiscent of fighting games — engaging without being overwhelming.
The game marks a significant leap forward in quality and ambition. Ayumi poured her heart into every aspect of its development—from composing an emotionally resonant soundtrack to crafting distinctive sprite animations and refining the gameplay mechanics. Zaboru offered enthusiastic praise, declaring it her masterpiece. He gave it a strong 8/10, noting that the original sprite work and perfectly synchronized soundtrack elevated the experience to new heights.
Ayumi’s precise martial arts references stemmed from her family background — the Hamazou Yakuza. Many of her relatives were seasoned martial arts practitioners, and she consulted them extensively to accurately animate and design the game’s combat mechanics. Their insights gave Buntei an unexpectedly authentic and dynamic fighting style that elevated the gameplay experience.
Elsewhere, ZUSUGA released a new game for ZU Gen 1, hoping to draw in lingering fans of the failed platform. The game itself is technically sound, with minimal bugs and stable performance, but its gameplay design and visual presentation fell short when compared to ZAGE’s or Sonaya higher benchmarks. Zaboru rated it a 6/10, citing a lack of innovation and polish. By now, most players had already forgotten about this cash-grab system. They had marked it as a failure and wanted nothing more to do with ZU Gen 1, even though the consoles had only been on the market for a few months.
And now, it is 22 December — the official release date of Super Metroid.
To be continued
