In August, there are updates. First of all, the Sendou Fiber Optics Project is finally complete in Japan. What's left now is the last step: proper marketing, clear pricing tiers, and making sure the installation flow is simple enough that normal families won't feel intimidated.
Zaboru can't help grinning when he thinks about it, because ZAGE Tower in Japan already tasted the speed internally—and it's genuinely game-changing. Pages load instantly. File transfers don't feel like a "wait." Even simple things like patch distribution and developer collaboration suddenly feel lighter, like the world's friction got shaved down.
Because of that, Sendou proposes that Zaboru do another public showcase in September. But Zaboru refuses to rush it. He tells them they need around two months, because if they want to promote fiber properly, they need the right companion product ready: the Steam application, which is still in active development. Without Steam, the showcase would only be "fast internet." With Steam, it becomes a complete message: fast internet + a real digital ecosystem.
Related to this, Sendou Inc continues expanding beyond Japan. Korea and China are close to completion, while in the United States they're working on the government side first. The U.S. government uses a third-party handler for parts of the rollout, but the overall collaboration is still ongoing. Himura Sendou—the CEO of Sendou Inc—expects the Korea expansion to finish late this year, China to reach a major milestone around mid next year, and the U.S. timeline to be similar to China. Other countries have begun approaching Sendou as well, and Himura expects additional international projects to begin in late 2000 or early 2001.
Zaboru is genuinely happy about all of it. Starting next year, internet speed across daily life will finally elevate enough that he can begin pushing the digital era in this world. For him, this isn't just about faster downloads—it's about changing habits. When the line is fast enough, people stop treating "online" as a special activity and start treating it like breathing.
Steam—developed by ZAGE USA—is almost complete. The core is working: libraries, updates, accounts, and distribution. What's still being finalized is the hardest part: digital payment. The system is already close, but Zaboru refuses to ship it half-baked. He wants it stable, secure, and easy, not just "working." No confusing menus. No fragile connections. No weak security that could explode into a scandal the moment the public touches it. If they're asking families to trust their money to a screen, then the screen must feel safer than a cashier.
If everything stays on track, Steam will be officially ready in October. That means Zaboru can publicly showcase both Steam and "fiber at home" services together—one announcement, one message: the speed is here, and the ecosystem is ready to use it. The service itself won't be ridiculously expensive, either. Zaboru wants it positioned as the new normal, not a luxury reserved for elites, because adoption matters more than prestige.
Himura Sendou trusts him with the pacing. There's no need to sprint into a messy launch when the product is supposed to become infrastructure. And if Zaboru is the one presenting it—smiling, confident, explaining it in simple terms—the public will listen. More importantly, they'll believe that this isn't a strange future experiment.
It's just… the next step.
Still, Zaboru warns them about the worst-case scenario: it could slip into early November. He wants to avoid that if possible, because November already has an important milestone for ZAGE—the farewell period for ZEPS 2 and the ZGB handheld.
Next, the video games released this month—six of them: Winning Eleven 99, NBA Live 99, Kamen Rider Ryuki, One Piece Grand Battle, Gundam Battle Assault, and Tekken 2 for the arcade. Every single one of them succeeds, because they're ZAGE releases after all—and the market has already learned that when ZAGE drops a lineup, it usually means quality.
Winning Eleven 99 and NBA Live 99 especially already have strong fanbases, so people buy them fast. But what surprises players is that the updates aren't just small yearly tweaks. The upgrades are noticeable enough that even skeptics—people end up admitting it feels like a real step forward.
In Winning Eleven 99, Master League gets elevated in a way that makes the mode feel more alive. There's more drama, tougher negotiations, and more responsibility tied to each player's role. Team identity matters more, and managing the squad feels like managing real personalities, not just stats. Become A Legend also receives a new story, giving players more scenes, more turning points, and more reasons to stick with one character instead of restarting after a few matches.
Similar to that, NBA Live 99 comes in with a major upgrade to MyCareer—the most popular mode in the game. It isn't just a small refresh; it feels like the mode finally grew up. There's more customization, more skill types to shape how your player develops, and even a new storyline that gives your rise a real sense of progression. The result is exactly what ZAGE wanted: fans don't just like the update—they fall into it, talking about their builds, their choices, and their favorite moments like it's its own game inside the game.
And then there are 3 games from ZAGE's existing IPs. First, Kamen Rider Ryuki quickly becomes a major hit. A lot of it is timing—the series is already loved, especially in Japan—so the moment people realize there's a full game, it sells fast. But it isn't only hype. Players stay satisfied because the gameplay feels approachable without feeling shallow.
It's a fighting game, sure, but it's easier to pick up compared to other ZAGE fighters. Instead of demanding complicated inputs, it leans into the Vent Card system: you swipe a card, trigger a skill, unleash a special, and the game makes it look cinematic. It fits Ryuki perfectly—fights feel like episodes, not like homework. Even beginners can pull off cool moments, while experienced players still learn timing, spacing, and when to save a card for the right situation.
There's also a story mode that follows the show closely, with key matchups and dramatic beats recreated in a way fans actually respect. And if players want more pure challenge, the arcade mode is there too—tougher opponents, faster pacing, and that classic pressure of "can you clear it in one run?"
As usual, ZAGE also hides something extra inside. ZABO-MAN is in the game, but not handed out for free. He becomes a playable character only if you manage to obtain a rare Z-Card through Collection Mode. That mode lets players unlock collectible cards and artwork using in-game currency earned from playing, so people end up grinding matches not out of obligation, but because they genuinely want to see what they'll pull next. The moment someone posts proof of the Z-Card online, the whole community starts hunting for it like it's a treasure—exactly the kind of buzz ZAGE loves.
Next is Gundam Battle Assault, and for many Gundam fans it feels like a dream come true—finally, Gundam has its own game, and it arrives with a blast. The art style is surprisingly beautiful, with bold shadows, crisp highlights, and that clean "anime intensity" that makes every beam saber clash look like a poster moment. The gameplay is genuinely fun too: heavy enough to sell the weight of mobile suits, but still fast and responsive so matches don't feel slow.
What makes fans even more satisfied is the roster coverage. The game showcases Gundams from the very first season of Mobile Suit Gundam all the way to the most recent series, Gundam ZZ (Double Zeta), which is currently airing. For longtime watchers, it feels like a celebration of the timeline—different silhouettes, different weapon styles, different fighting rhythms—yet everything still feels unified under the same dramatic Gundam energy.
And of course, ZAGE can't resist adding a little extra weirdness. ZABO-MAN appears in this game, but not as a normal unlock—just as a random cameo. In one of the stages, a massive black mecha with a silver helmet suddenly passes through the background like it owns the place. It pauses for half a second, gives a thumbs-up, then disappears as if nothing happened. It's so unexpected that players talk about it like a rumor at first… until more people see it and realize ZAGE really did hide it in there.
And then there's One Piece Grand Battle, and this game somehow becomes ridiculously popular. Not just because it's One Piece—people expected that—but because it's pure chaos in the best way. The whole "Arena Battle" concept feels brand new to most players in this world, so the first time they try it with friends, it instantly turns into screaming, laughing, and arguing in the living room like it's a party game disguised as an action brawler.
What makes it even better is that the mechanics actually respect the series. Luffy and other Devil Fruit users can't swim, so if they get knocked into water or submerged by a stage hazard, they start taking damage and flailing helplessly—exactly like they should. Meanwhile, characters like Arlong and other fishmen can use the environment to their advantage, getting stronger or moving more freely where others panic. It creates this hilarious imbalance that feels fair because it's lore-accurate.
But the real main attraction is the stages. They're not just backgrounds—they're monsters. For example, in Arlong Park the arena is packed with distractions and hazards: pools that can suddenly summon a wild cow-fish creature, fishmen in the background practicing sword skills who accidentally swing into the fight, and even random tornados that appear out of nowhere like the weather itself is trying to ruin your combo. The arenas are vibrant, loud, and dangerous, with hazards that can literally one-shot a player if they get caught at the wrong time.
That's why it becomes "chaotic fun." It's not only about who has the best combos—it's about surviving the arena, using the madness against your friends, and laughing when the stage decides to betray everyone equally.
Zabo-Man shows up a lot in this game—so much that players start treating him like a walking disaster event. He doesn't appear politely or predictably, either. One match can be going perfectly normal, and then suddenly he drops from the sky like a flaming meteor, slams into the arena, and explodes right on top of an unlucky player. Another time, he charges in with a whole herd of bulls behind him, and they stampede across the stage, knocking fighters around like bowling pins and ruining everyone's carefully planned combos.
Sometimes it's even weirder. He'll casually stroll through the background like he's just sightseeing, completely ignoring the fight… and then, two seconds later, a T-rex appears behind him and starts chasing him across the arena, roaring so loud it shakes the screen and forces everyone to scatter. The pure randomness makes Zabo-Man feel like an unfair menace—players scream, complain, and swear they hate him.
And yet… it's also what makes the game unforgettable. The chaos becomes the story people tell their friends: "Bro, I was winning, and then Zabo-Man fell like a meteor!" "No way, the bulls got me mid-combo!" "I swear the T-rex chased him right into me!"
So yeah—Zabo-Man is hated and loved at the same time, because he turns every match into something you can't predict, and that unpredictability is exactly what makes One Piece Grand Battle feel so alive.
Then there's Tekken 2, and for many Tekken fans it feels like a wet dream made real. It's basically Tekken—but better in every way that matters. The graphics are insane for an arcade cabinet in this era: smoother animation, cleaner lighting, and character models that look like they belong to a generation ahead. Even people who don't usually care about fighting games stop and stare, because the presentation alone is enough to pull them in.
The roster also hits the perfect balance. New characters feel fresh, but the returning fighters aren't abandoned—old characters get updates that make them look sharper and move cleaner, while still feeling like themselves. Their signature stances, their recognizable rhythms, the "identity" of each fighter is still there, just refined.
That's why the arcade fills up again—not only with Tekken pros and fighting-game veterans, but with newcomers too. Some people come in because they heard it's "the new Tekken," then stay because the game feels responsive and exciting even when you don't know everything. Others come just to watch. Tekken 2 becomes the kind of cabinet that gathers a crowd.
And of course, ZAGE hides something brutal inside it.
Zabo-Man is the hidden boss—but unlocking him is almost legendary. The player has to finish Arcade Mode on the hardest difficulty with every round as a perfect. No damage taken. No mistakes. Just pure domination. If you manage to do that, the screen doesn't just show "Congratulations." It goes quiet. The lighting shifts. Then Zabo-Man appears.
This version of Zabo-Man is terrifying. He's wrapped in dark armor, his aura thick like shadow, a cape trailing behind him like a warning flag. The signature black helmet is there, the blue visor is there, the "Z" on the forehead is there—but everything about him feels colder, heavier, more menacing.
And the worst part?
You can't get hit.
The fight is designed as an ultimate challenge. One clean strike from him ends it. One mistake, and you're done. He moves like a boss that doesn't belong in the same game—fast, precise, and cruel. Players say it feels less like a match and more like surviving a test.
But if someone actually defeats him… Zabo-Man steps back. He gives a thumbs-up. Then, in a calm voice, he says his iconic line:
"You are very cool."
And before the player can even breathe, he disappears.
It's so hard that not many people can do it. Which is exactly why the rumor spreads, why arcades start whispering about "the perfect run," and why Tekken 2 becomes even more talked about than it already was.
And that's the overall picture of what happened in August 1999 for ZAGE—and now, the calendar has already rolled into early September.
To be continue
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