In mid-November, Zaboru officially briefed his two new teams, FROST and BLAZE, and used the meeting to lock in a clear roadmap for the next year. He framed it as a reset of priorities, making sure everyone understood what "success" would look like by the time the year ended. BLAZE had originally been created to produce ZAGE IP-based games aimed at the USA market, focusing on recognizable brands that could move fast and build visibility overseas. However, Zaboru revised the mission: BLAZE must remain adaptable, using IP titles as the initial engine for momentum while also building the skills and workflow needed for non-IP projects and original concepts later. For the moment, the IP pool is still abundant, and Zaboru has a long list of possible shows and comics connected to ZAGE and its subsidiaries, so BLAZE's immediate schedule remains centered on IP-based development while keeping room for future expansion.
First of all, Zaboru assigned BLAZE their first task: an adventure beat 'em up Fantastic 4 game. It would be another Marvel Super Hero title, and since ZAGE owned the company, he had the freedom to develop games directly from Marvel Super Heroes IP. With Marvel's roster packed with iconic heroes and villains, Zaboru didn't hesitate to start the USA-focused lineup with a well-known team that could easily attract attention.
For the game concept, Zaboru planned something inspired by the kind of light, cooperative adventure design he remembered from his previous life, but without using LEGO games. The core idea was simple: each member of the Fantastic 4 would feel unique and essential. Mister Fantastic's stretching, Invisible Woman's stealth and shields, Human Torch's mobility and fire, and The Thing's raw strength would all be required to solve different obstacles. That meant levels would include frequent puzzles and route-blockers that could only be cleared by the right character, encouraging players to swap roles and work together.
The game would support up to four players in co-op, but Zaboru also wanted it to remain accessible for solo players. In solo mode, the player could switch between characters as needed, making it possible to finish the full campaign without relying on friends. Overall, Zaboru believed Fantastic 4 was a perfect fit for this style because their team chemistry naturally matched a cooperative, puzzle-heavy beat 'em up adventure.
Next, Zaboru gave BLAZE a second assignment: Donald Duck: Quack Attack. It was a title he remembered clearly from his previous life on the PS1 era, and he considered it a strong fit for the USA lineup because Donald Duck remained a universally recognizable character with wide family appeal. Since Zaboru held 50% ownership of Disney in this world, he had the leverage to use Disney characters without endless negotiations, which made the project both practical and strategically valuable.
Zaboru's goal was not to simply remake the old game, but to deliver an enhanced version that felt sharper and more complete. He wanted BLAZE to keep the core identity that made the original solid—straightforward platform-adventure progression, light combat, and playful tone—while improving pacing, controls, and level variety. He also emphasized polish: clearer objectives, smoother movement, and more satisfying feedback so the game would feel modern for its time without losing its charm.
In his briefing, Zaboru positioned Quack Attack as a "reliable win" project: a recognizable Disney IP that could strengthen ZAGE's presence in the USA market, broaden the team's experience and prove that BLAZE could handle both brand-based expectations and quality upgrades. For BLAZE, it was another IP-heavy task, but it came with an important lesson—how to modernize an existing idea while keeping what audiences already loved about it.
Then the last game on BLAZE's list was an original Transformers adaptation. Transformers had long been one of ZAGE's most reliable TV show IPs, and Zaboru wanted to turn that popularity into a game that could stand on its own, not just a quick tie-in. Like the Fantastic 4 project, the plan was to build an original beat 'em up designed specifically for gameplay first, then wrap the story and set pieces around it.
Zaboru highlighted why Transformers was perfect for this approach. The franchise already had a clear conflict that audiences understood immediately: Autobots versus Decepticons. That meant BLAZE could focus on creating satisfying encounters, distinct character kits, and memorable stages without spending months explaining the world. He also pointed out that the character pool was deep enough to support variety, from heavy bruisers and agile speed-types to ranged specialists and support units, giving the team room to build both a strong roster and plenty of enemy variety.
In practical terms, Zaboru wanted the game to feel like a team-based brawler with transformation used as a real mechanic, not just a visual trick. Vehicle mode would be used for quick repositioning, chase sections, and certain stage hazards, while robot mode would handle most of the close-quarters combat. The overall goal was a straightforward, high-energy experience that could be played solo or in co-op, with the kind of clear, exciting action that matched how popular the show already was on Nickelodeon ZAGE.
All three of these games were treated as official projects from day one. Zaboru handed Team BLAZE the usual folders for each title, already filled with concept art references, early gameplay direction, character details, story outlines, and the key milestones he expected them to hit. It wasn't just a casual suggestion either, it was a schedule. He set the target for completion by next year, November 2000, and made it clear that the three games would be judged as a full package, not as separate experiments.
Even with the workload, BLAZE didn't look overwhelmed. By the standards of ZAGE's current pace, three games in a year was considered normal, especially for a team built to move fast and deliver for the USA market. They were already used to ZAGE's timeline and pressure, and the folders simply confirmed what they had joined for: clear direction, heavy expectations, and no excuses once production started.
Next was Team FROST. Zaboru designed FROST as a hybrid unit that could handle both PC development and ZEPS projects, depending on what the company needed. Unlike BLAZE, they were not locked into one lane. Their job was to test genres, build new workflows, and prove that ZAGE could move between platforms without losing quality. In short, FROST was meant to be flexible, experimental, and reliable at the same time.
The first game Zaboru assigned to FROST was a PC project: Deus Ex. He wanted it to carry a strong cyberpunk sci-fi vibe, mixing first-person shooter gameplay with RPG-style progression and heavy decision-based structure, where outcomes shift depending on what the player chooses. Zaboru pushed this title because, in his previous life, Deus Ex stood out as one of the best examples of player freedom done right. It was not only about shooting enemies, but about giving the player multiple ways to solve the same problem, through stealth, hacking, dialogue choices, exploration, or direct combat. The game rewarded curiosity, made skills and upgrades feel meaningful, and treated the player's decisions as part of the story instead of a simple good-or-evil switch.
To Zaboru, that combination was what made Deus Ex truly good: the atmosphere felt dense and believable, the world reacted to player actions, and the gameplay supported different playstyles without forcing one "correct" solution. He believed it was the perfect first PC assignment for FROST because it demanded careful design, strong systems, and smart writing, the exact skills a flexible team needed before they started testing even wider genres.
Next, Zaboru assigned a PC-only strategy project: Age of Mythology. The foundation would be similar to ZAGE Age Of Empire, but with a stronger focus on magical elements, legendary creatures, and divine powers that could change how battles and economies worked. Zaboru wanted the game to feel like a true step sideways from pure history into myth, where players still build cities and manage resources, but also choose a pantheon, earn favor, and unlock abilities that make each match unpredictable and exciting.
In his previous life, Zaboru remembered Age of Mythology as one of those rare strategy games that felt easy to learn but deep enough to master. It kept the satisfying rhythm of building, expanding, and timing your attacks, yet added a layer of spectacle and tactical surprise through god powers and myth units. Battles didn't only hinge on who spammed units faster, but on when you used a divine ability, how you protected your heroes, and how you managed your favor without falling behind in resources. Even the same map could play differently because the myth side of the game changed the tempo and forced players to adapt.
He also set a major direction for the content. The game would not be limited to Greek, Egyptian, or Norse mythology. Zaboru insisted that ZAGE's version must go wider, bringing in East Asian mythologies as full factions too. Chinese, Japanese, and Korean mythology would each have their own units, heroes, and god powers, because Zaboru believed they had huge potential for fresh designs and strategies.
To him, adding Japan, China, and Korea didn't just increase the roster, it extended the coolness of the gameplay itself. Each mythology could introduce different battlefield rules and identity. China could lean into celestial order, legendary generals, and creature summons that reshape formations. Japan could emphasize fast strikes, spirit-based tricks, and dramatic hero moments that reward precision. Korea could bring its own style of mythic guardians and unique blessings that support disciplined armies and clever counterplay. With those factions, the game would feel less predictable, more replayable, and more globally exciting, because the magic and mythology would truly change how people planned, fought, and won.
Next, Zaboru added one ZEPS 3 project to FROST's workload: Wave Race 64. In his previous life, this was one of the most fun racing games he had played because it didn't feel like a normal road racer at all. The entire identity came from riding a sea motor cycle on open water, where the waves were not just decoration. The water itself affected handling, speed, and balance, so every jump and every turn felt physical and alive.
Zaboru remembered why it stood out so strongly. The controls felt tight and responsive, but the game still demanded skill because the wave physics constantly changed your line. Tracks were built around that idea, mixing straight stretches for speed with heavy wave sections, narrow gates, and sharp turns that punished careless steering. It also had a satisfying risk-reward loop: you could ride aggressively, take rougher waves, and gain time through big jumps, but one mistake could throw you off rhythm and ruin a clean run.
He also loved the atmosphere of it, the clean visuals for its era, the clear sense of speed, and how enjoyable it was to replay for better times or compete with friends. Because of all that, Zaboru wanted to replicate the same core feeling for ZEPS 3, not just copying the name, but recreating that unique mix of water physics, skill-based racing, and pure arcade fun.
That wrapped up the assignments for Team FROST, and the same expectations applied to Team BLAZE. Zaboru set one clear deadline: November 2000, exactly one year from now, with all three games expected to be ready.
By the end of November, Zaboru returned to Japan, with the development of the ZGBA nearly complete.
To be continue
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