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Chapter 686 Next Games Developed by ZAGE.
🕑 Added 2025-10-04 03:15:51 +0000 UTCWhile Zaboru was in meetings with Saban discussing Power Rangers, the ZAGE development teams were already hard at work beginning production on their newest game 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 game project per studio. These weren’t just ordinary assignments; each game would require several months of development. 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 development 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 improvements, and Not to mention, Zaboru’s father, Zanichi Renkonan, had recently made a significant breakthrough—he discovered a reliable method 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 advancements 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 games in the coming years.
With the closure of ZEPS 1 and the retirement 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 game, 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 aimed to elevate the original to an entirely new level. Zaboru didn’t want to just recreate the game; he wanted to refine and enhance it.
The development would include improvements 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 environments 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 game. He was determined that this title would be remembered as one of the greatest JRPGs in ZAGE history.
In his previous world, Chrono Trigger was considered a timeless masterpiece. Now, with the advancements and resources of ZAGE Tokyo, Zaboru was confident that this reimagined version would earn that same reputation—and maybe even surpass it. The game was scheduled for a November release.
Next, for ZAGE Osaka, Zaboru had something a little controversial in mind. He planned to develop a brand-new arcade fighting game: Dead or Alive. While similar in structure to games 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 meant, and he was unapologetic about it.
He envisioned the game featuring high-quality character animations, fluid combat mechanics, and what he called "necessary jiggle physics." To some, 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. Games featuring attractive, well-designed female characters had always sold well, and he saw an opportunity to blend that appeal with genuine fighting game 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 time through this game, 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 seemed like a “naughty” project on the surface was, in truth, an experimental foundation for expanding their 3D game development using Unreal Engine at its fullest.
Dead or Alive wouldn’t just be a fan-service-heavy game. 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 gameplay, Zaboru believed it could carve out its own identity. The arcade version was scheduled for an October release, just in time 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-time strategy game: StarCraft. Inspired by the massive success the game had achieved in his previous life, Zaboru knew how influential and genre-defining it had become. Much like Warcraft, which ZAGE had already developed in this timeline, StarCraft would follow similar strategic gameplay 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 game 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 game’s art style to reflect the grim and gritty atmosphere of endless space battles, pushing the limits of what RTS games could visually deliver. From orbital bombardments to alien infestations, every animation and effect had to immerse players in a war-torn galaxy.
Beyond gameplay, 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 game 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 games.
The ZAGE USA team was both excited and slightly overwhelmed, 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 aimed for StarCraft to become a global hit—especially in the West—and believed that if developed to its full potential, it could spawn a lasting esports legacy. The game was scheduled for a high-profile launch in November, timed to cement 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 game 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 implement 3D jiggle physics—it’s advancing our entire 3D game technology pipeline.”
Shigeru let out a small laugh. “Still, don’t you think it’s a bit much? I mean, look at the character designs—they’re so... revealing. Does that mean, 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 experimenting with new ideas. It means we don’t get stagnant or stuck doing the same 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—time 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 development? Now ZAGE Osaka is practically leading the charge on arcade and ZGB game design.”
Shigeru sighed again but with less resistance this time. “Yeah... you’re right. We’ve come a long way. It’s just—some days, I wish we could slow down and work on something a little more personal, something like Chrono Trigger.”
Satoru smiled and gave a reassuring nod. “Maybe next time. For now, let’s give this one everything we’ve got.”
The two turned back to their workstations, the buzz of development continuing in the background as they settled into the task ahead.
To be continue
