Another world Game Developers in Japan`s 1991

While the Fallout controversies and brilliance were still buzzing in the air, ZAGE showed no signs of slowing down. This time, Zaboru unleashed two titles from ZAGE Japan onto the global stage — the wildly anticipated Battletoads in Battlemaniacs and the clever, genre-bending The Lost Vikings, both for the ZEPS 2 system. Their joint release on Saturday, November 25, 1994, was met with excitement and long lines outside game stores across Japan , Europe and USA alike.

As usual, the games sold really well. Players consumed ZAGE products like their favorites, and these games were genuinely excellent.

Battletoads in Battlemaniacs is a sequel to the ZEPS 1 Battletoads game, and with updated graphics, smoother controls, and tighter level design, it carried forward everything fans expected — and feared. It stayed true to the series' identity: absurdly difficult, unapologetically goofy, and packed with over-the-top action sequences that players simultaneously loved and raged over. The visuals were brighter, the animations slicker, and the challenge curve just as unforgiving. It was classic Battletoads, on ZEPS 1 only louder and meaner — exactly how fans wanted it.

As for The Lost Vikings, players praised it for its gameplay, which felt refreshingly different. Instead of controlling one character, you controlled three distinct Vikings — Erik the Swift, Baleog the Fierce, and Olaf the Stout — each with unique abilities. You had to use all three together to solve puzzles and reach the exit of each level.

What truly captured players' hearts was the game's ingenious blend of strategy and coordination. You couldn't simply blast through a level — you had to think carefully. Erik could run and jump to access high platforms or trigger switches. Baleog brought the muscle, able to fight enemies and hit distant objects with his sword and bow. Olaf, ever the stalwart, could block incoming projectiles with his shield or serve as a platform for the others to stand on.

The real joy — and challenge — came from figuring out how to combine their abilities in just the right sequence. Puzzles demanded precision and planning, and there was no room for error. If even one Viking was left behind or perished, the level had to be restarted. It made teamwork not just important but absolutely essential — even when playing solo. That level of mental engagement elevated the gameplay from simple platforming to something truly memorable.

The game also radiated humor and personality. Each Viking had his own distinct flair — Erik's impulsive confidence, Baleog's gruff toughness, and Olaf's lovable cowardice — and their quirky banter and exaggerated expressions brought welcome levity to the brain-teasing puzzles. The levels were as inventive as they were unpredictable, with everything from lasers and trapdoors to gooey slime creatures and absurd time-travel twists that kept players on their toes and grinning.

On top of all that, The Lost Vikings featured a two-player cooperative mode, allowing each player to control different Vikings and coordinate their actions in real-time. This made the experience even more engaging — and often hilariously chaotic — when played with a friend. Players would shout directions, argue over timing, and celebrate victories together, turning puzzles into shared triumphs. It was a shining example of how co-op could elevate puzzle-platforming beyond solo strategy.

This title reinforced that ZAGE wasn't content to current video game genre. They didn't just refine existing genres — they reshaped them, often inventing entirely new styles of gameplay in the process. The Lost Vikings stood as proof of their creative ambition.

Later in November, the Guitar Hero ads took everyone by surprise and lit up the airwaves. The concept was deceptively simple: the screen opened on Zaboru in a dramatic spotlight, shredding a blazing guitar solo — specifically the solo from Z&Z recent album "Through Fire and Flames." His fingers flew across the fretboard with fiery intensity. Then, in a flash of lightning and a burst of synth, someone teleported beside him — none other than Zabo-man! (Zaboru himself, now wearing his iconic Z helmet, clad in sleek futuristic armor.)

Zabo-man then revealed a sleek, futuristic guitar — but instead of strings, it had five vibrant buttons in red, blue, green, yellow, and orange along its body. He struck a pose, summoned a glowing Guitar Hero arcade cabinet from thin air, and jumped into action, hammering the buttons with blistering speed as "Through Fire and Flames" blared from the speakers. Zaboru, still beside him with his real guitar, grinned and nodded in sync. The two launched into a high-energy duet: one shredding a real instrument, the other dominating the game. Sparks flew, lights pulsed, and their performance blurred the line between reality and rhythm-game fantasy.

After that, the screen burst with an explosive flash and transitioned to a new scene. It cut sharply to gameplay footage — flashing fingers on colorful buttons, electrifying stage effects, and fast-paced crowd shots — all synced to the music's rhythm. Then, in bold letters over the music's final note, the tagline appeared: "Play a Guitar to Become a Hero! — Guitar Hero." It concluded with a dramatic fade-in of the release date: December 1 at your nearest arcade.

The ad was a spectacle — bold, loud, and unforgettable. For the first time, people truly understood what Zaboru meant when he said he created the album for a game. This was the game — Guitar Hero wasn't just an album name, it was the fusion of music and gameplay brought to life with style. Players were buzzing with excitement. Arcade owners reported calls from eager fans wanting to know when the cabinets would arrive. The hype was real, and Guitar Hero had already struck a chord — all before anyone had even played it.

As for Zaboru himself, in late November, he was fully immersed in finalizing Guitar Hero, overseeing every last detail to ensure it met his creative standards. Once that was completed, he wasted no time in pushing forward. He assigned ZAGE USA to begin development on a new project: Duke Nukem. This marked another bold move in expanding ZAGE's catalog, tapping into a more mature and edgy genre. Zaboru set an ambitious target release window for late January or early February 1995, but he made it clear that quality came first — if extra development time was needed, he would fully support the team taking it.

At the end of November, Zaboru flew back to Japan to assist the local team with two major projects: Pokémon Gen 2 and Super Metroid, both scheduled for release in late December. He intended to contribute directly to their development, especially since he had promised to be home in time for his birthday. He was also well aware that the government had growing concerns over the Fallout game, and he was prepared to face their criticism head-on in a formal meeting.

He planned to return to the U.S. in mid-to-late December to prepare for GOTY 1994, the very first Game of the Year event ever held in the USA. It was set to be a major celebration of gaming— and Zaboru wanted to make sure it was unforgettable. He invited his entire family to join him, hoping to share the moment with those closest to him. Preparations were already well underway: Zaboru had called one of additional celebrities to perform alongside Z&Z, On top of that, he was composing a brand-new song specifically for the occasion.

To be continued

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