Zaboru was still in his office, leaning back in his chair as a faint smile appeared on his face. His thoughts drifted naturally toward the reason it had to be eight teams. "In the future, each team will be specialized in a different aspect of game development," he thought quietly. "They won't be able to make games randomly like they do right now." The idea amused him, and Zaboru let out a small chuckle as the vision became clearer in his mind.
He dreamed of a future where the game and technology industry had finally reached a level similar to the early 2010s from his previous life. By then, the way ZAGE developed games would be completely different from today's experimental phase. Development pipelines would be clearer, teams would have distinct identities, and expertise would be built over years rather than improvised from project to project. That was why he planned for eight specialized teams — each one mastering its own domain, refining its strengths, and becoming trusted names within their respective genres.
One team would focus on making Adventure, Platformer, Puzzle, and all-ages games. In his previous life, this role was largely represented by Nintendo-style titles, and Zaboru wanted to recreate that same sense of trust and identity within ZAGE itself. This team would instead work entirely on ZAGE IPs inspired by that spirit — games in the vein of Mario, Zelda, Sonic, Crash Bandicoot, Pokémon, and Digimon, fully developed and owned by ZAGE in this world.
The core philosophy of this team was accessibility. Their games would be easy to pick up, colorful, and welcoming, designed so that children could enjoy them without frustration, while still offering depth through level design, exploration, secrets, and progression that older players could appreciate. These titles would emphasize creativity, fun mechanics, and memorable characters rather than raw difficulty or realism.
Over time, this team would naturally gain a strong reputation as the all-ages pillar of ZAGE. Parents wouldn't need to worry or even fully understand what the games looked like — seeing this team's name attached to a title would be enough to trust that it was safe, enjoyable, and thoughtfully made. For Zaboru, that kind of long-term trust was invaluable, forming the foundation of ZAGE's image for families and younger audiences in the future.
The second team Zaboru wanted to establish would focus entirely on JRPGs and tactics-based games. This studio would be dedicated to developing story-heavy, character-driven experiences, handling major ZAGE IPs such as Final Fantasy, Fire Emblem, Chrono Trigger, Persona, Shin Megami Tensei, Tales series, Phantasy Star, and Dragon Quest. In Zaboru's mind, these titles represented the emotional core of gaming — long journeys, deep party bonds, and worlds that stayed with players long after the credits rolled.
Looking further ahead, Zaboru knew that ZAGE would definitely create many more JRPG series in the future. Like the Trails series, Xeno-style epics, and other long-running saga-based franchises were already taking shape in his thoughts. Because of that ambition, this studio was not just optional — it was absolutely necessary. It would serve as the backbone for ZAGE's RPG identity, ensuring consistency in quality, tone, and long-form storytelling across decades.
In addition to traditional JRPGs and tactics games, this team would also be responsible for visual novels. Zaboru considered visual novels closely related to JRPGs due to their heavy emphasis on narrative, character development, and player choice. By uniting these genres under one roof, the team could refine its storytelling craft to an exceptional level, creating experiences that balanced gameplay systems with powerful, emotionally driven narratives.
The third team Zaboru wanted to establish would be an Action‑Flair specialist, a studio dedicated entirely to high‑impact, mechanically driven action games. This team would handle ZAGE titles similar to Castlevania, Metroid, Jackie Chan Stuntmaster, Armored Core, Metal Gear Solid, and all of ZAGE's fighting games. Their core identity would revolve around tight controls, stylish combat, responsive movement, and gameplay that felt satisfying in the player's hands above all else.
Looking further ahead, Zaboru planned for this team to eventually develop ambitious action titles inspired by his previous life, such as Devil May Cry, God of War, Yakuza, Bayonetta, Assassin's Creed, Darksiders, Dynasty Warriors, Prototype, and many others. This team would not be limited by genre labels — whether it was hack‑and‑slash, action‑RPG, stealth action, character action, or large‑scale battlefield combat, they would be the go‑to studio whenever ZAGE needed an action game done right.
More than anything, Zaboru envisioned this team as the benchmark for action quality within ZAGE. When players saw this studio's name attached to a game, they would immediately expect fluid combat, strong enemy design, and memorable action set pieces. Regardless of genre or setting, this team would represent the peak of ZAGE's action expertise.
Next, Zaboru wanted to focus on forming a team dedicated to Simulation, Relaxing games, RTS titles, and the future MMO and online game scene. Within ZAGE's existing library, this category already included games like The Sims, Harvest Moon, RollerCoaster Tycoon, Sim City, Civilization, Warcraft, and Age of Empires. From Zaboru's perspective, these genres were far too complex and long‑term focused to be treated casually — they absolutely required a team of their own.
His plan was for this studio to also develop future titles inspired by ideas such as City Skylines, Minecraft, Stardew Valley, and Animal Crossing, while simultaneously handling the next installments of major strategy franchises like Age of Empires and Civilization. These were games built around systems, time investment, and player freedom, and Zaboru believed they demanded designers who truly understood balance, pacing, and long‑term player engagement.
As for the online scene, Zaboru intended this team to become the backbone of ZAGE's MMO and competitive multiplayer ambitions. They would handle large‑scale MMORPGs as well as other online‑focused titles such as games similar to Dota or League‑style that he was certain ZAGE would develop in the future. Because of the sheer scale, server demands, and ongoing support these games required, Zaboru already knew this studio would likely become the biggest team within ZAGE — not just in size, but in long‑term responsibility.
The next, the fifth team Zaboru wanted to focus on, was centered around what America loved the most — guns, balls, and cars — with skate culture added firmly into the mix. This studio would specialize in those four pillars, forming a team whose identity was rooted in realism rather than fantasy, standing in clear contrast to many of ZAGE's other more stylized projects. Authentic movement, grounded physics, and believable presentation would be the core values of this team.
This studio would handle and expand titles like current ZAGE games such as NBA Live 98, Tony Hawk's Pro Skater, the upcoming Medal of Honor, Winning Eleven, and WWF SmackDown. These games represented competition, physicality, and spectacle — experiences that thrived on skill, timing, and realism rather than exaggerated powers or fictional worlds. Zaboru believed this approach was essential for capturing the Western market properly.
Looking toward the future, this team would also become the backbone for ZAGE's sports and racing ambitions. Realistic racing franchises similar to Forza, Gran Turismo, and Need for Speed were non‑negotiable in his long‑term plan. At the same time, the team would take responsibility for mature, realism‑focused titles such as GTA, Red Dead Redemption, Payday, Call of Duty, Mafia, and Far Cry. These would be fully original ZAGE-developed games in this world, representing ZAGE vision of grounded crime, warfare, and realism‑driven storytelling. For Zaboru, this team was essential — it was the bridge that connected ZAGE to the tastes, culture, and expectations of the American audience.
Next, the sixth team Zaboru planned would focus on Western RPGs and action‑heavy experiences. Within ZAGE's current library, this category already included titles such as Diablo, the Elder Scrolls series, and the upcoming Baldur's Gate. Zaboru clearly understood that Western RPGs were fundamentally different from JRPGs — not just in presentation, but in philosophy. Where JRPGs often emphasized structured narratives and party dynamics, Western RPGs focused more on player freedom, branching choices, open exploration, and reactive worlds.
Because of those differences, Zaboru wanted this team to specialize exclusively in that design mindset. They would be responsible for building deep systems, moral choices, character customization, and worlds that responded to player decisions in meaningful ways. Looking ahead, this team would go on to create major ZAGE titles such as Dragon Age, Mass Effect, Kingdom of Amalur, and future installments of the Elder Scrolls and Baldur's Gate. By dedicating a full team to this genre, Zaboru ensured that ZAGE's Western RPGs would have their own identity, craftsmanship, and long‑term vision rather than being treated as an extension of JRPG development.
The seventh team would be dedicated to two genres that Zaboru personally loved the most: dark action and horror. This team would focus entirely on creating intense, atmospheric games built around difficulty, tension, and emotional pressure. These were not meant to be casual experiences, but games that tested the player's patience, skill, and resolve — the kind of titles that stayed in the player's mind long after they stopped playing.
On the horror side, this team would handle ZAGE's existing and future horror IPs, starting with the current Resident Evil and Silent Hill. They would also be responsible for developing titles such as Fatal Frame and Kuon, games that emphasized fear through atmosphere, sound design, isolation, and psychological tension rather than cheap tricks. Zaboru wanted this team to understand horror as an experience, not just a genre — something slow, unsettling, and deeply immersive.
For the action side, Zaboru envisioned this team creating the kind of challenging action RPGs he admired in his previous life. Games such as Dark Souls, Elden Ring, Bloodborne, and Sekiro were clear targets in his mind — titles defined by precise combat, unforgiving enemies, interconnected worlds, and powerful environmental storytelling. He also wanted this team to handle other demanding action games he respected, including Nioh, Lies of P, and even unconventional titles like Another Crab's Treasure. For Zaboru, this team existed because these games required a very specific mindset and discipline, and he wanted a studio that lived and breathed difficulty, atmosphere, and mastery.
The last team Zaboru wanted to focus on would specialize in story‑based decision games and action‑focused FPS titles. This team would be responsible for creating games where narrative choices, player agency, and cinematic presentation were just as important as gameplay itself. Zaboru envisioned this studio handling ambitious titles such as Uncharted, The Witcher, Doom, Half‑Life, Duke Nukem, Deus Ex, Cyberpunk, BioShock, Dishonored, Gears of War, and even heavily narrative‑driven titles like Telltale's games.
For Zaboru, this team represented the bridge between pure gameplay and deep storytelling. These games would feature strong protagonists, memorable companions, branching decisions, and worlds that reacted to the player's choices, while still delivering intense action and polished set pieces. Whether it was first‑person shooting, third‑person action, or dialogue‑driven decision making, this team would focus on immersion and emotional impact.
He wanted this studio to master pacing, cinematic direction, and narrative structure, ensuring that ZAGE could compete at the highest level when it came to story‑heavy titles. In the future, whenever ZAGE aimed to create a game that felt like a blockbuster experience — one that blended narrative weight with explosive action — this final team would be the one trusted to deliver it.
Zaboru also understood that, in the future, each team might eventually need to form subsidiaries of their own, depending on workload, scale, and long‑term responsibilities. As ZAGE continued to grow, some teams would inevitably become too large or too specialized to remain as a single unified studio. Sub‑teams and internal branches would allow them to handle multiple projects at once without sacrificing quality or identity.
That was all part of Zaboru's long‑term plan. In the future, he also wanted to create indie games by himself — small, personal projects made purely from passion rather than corporate strategy. When that time came, he would make it so that it was hidden to his ZAGE teams that those games were his own creations. At the same time, for anime adaptations or IP‑based games, Zaboru intended to let the studios handle them flexibly, assigning projects based on the nature of the IP rather than locking them to a single team.
That was why, despite knowing that eight teams might eventually feel limiting for a company as large as ZAGE, he stubbornly kept that number. The reason wasn't purely logical — it was, at its core, Zaboru's personal whim. Still, even now, all eight teams were already conceptually complete. Even if some of them had yet to finalize their identities, their foundations were firmly in place, and their names had already been decided.
NOVA - Japan
IZAN - Japan
NIWA - Japan
TEMPEST - USA
ENIGMA - USA
NEXUS -JAPAN AND USA (Upcoming)
DYNASTY - KOREA AND CHINA (China Upcoming)
OMNI - England (Upcoming)
Zaboru grinned quietly as another thought crossed his mind. When he aligned the first letters of all eight team names, they spelled out a single word — NINTENDO. It was a reference that only he could truly understand, a private joke carried over from his previous life. No one else in this world would ever notice it, and that made it even more amusing to him.
At the same time, he remembered that his second account on the ZAGE forums — the one that frequently gave thoughtful advice, design insights, and balance suggestions to players — was named "Sony - Playstation." In the future, he even planned to use that alias as his personal "game developer" name when he quietly released indie games of his own. The irony wasn't lost on him at all. Seeing NINTENDO on one side and Sony‑Playstation on the other, both secretly tied to himself, felt strangely satisfying.
"Hehehe… it might be stupid," Zaboru muttered to himself, a soft laugh escaping his lips as he sat alone in his office. "But I love it." To anyone else, it would have sounded like nonsense. To Zaboru, it was part of a long, absurd, carefully hidden plan — one that only he would ever fully understand , then his Secretary Yumi Ichijou come and look at him laughing by himself, she dont said anything as she already used to it and then she tell him that there are request from Zaboru headmaster when he still in Hibaha highschool, Kaoru Sayama
To be continue
AN : I know this sounds stupid but well in future there will be improvement for this! Don't worry!
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