Following a series of productive meetings with Kenji Yoshida, ZAGE finalized the acquisition of 50% of Tatsunoko for 3 billion yen. In preparation for this partnership, Zaboru had already provided Yoshida with a detailed creative plan for developing Yu Yu Hakusho and Trouble Chocolate. Along with the overarching concepts, he handed the Tatsunoko team carefully prepared drafts for each series, including polished scripts, well-defined story arcs, and a comprehensive list of characters with their respective profiles, ensuring the team had everything needed to move swiftly into production.
Kenji Yasuda was astonished by the sheer scope and brilliance of Zaboru's ideas. He had expected that he and his team would be responsible for fleshing out the storylines and developing the characters, assuming Zaboru would merely offer a broad concept. Instead, what he received exceeded all expectations. Zaboru had already prepared meticulously detailed scripts for every episode, along with fully realized character designs, complete with professional illustrations. In that moment, Kenji understood why every company acquired by ZAGE seemed to rise to new heights — it was because Zaboru wasn't just talented; he was an unstoppable, insane genius.
Next, Zaboru had in motion a plan to create a dedicated subscription channel, a project he had tasked YaDo with preparing several months earlier. The groundwork was nearly complete, with the launch projected for either May or June. Simultaneously, he was coordinating with Nickelodeon to roll out a similar initiative in the USA — a process already well underway. In America, Nickelodeon's footprint was growing at an impressive pace, and by next month, they would be fully prepared to ramp up production and mass-produce a wide array of cartoons for their expanding audience.
At present, Nickelodeon was airing only two animated series — the X-Men animation and Transformers — both of which were enjoying strong sales and enthusiastic fan reception. However, the landscape was about to shift dramatically. The upcoming launch of the Nickelodeon channel in America next month would serve as a major turning point, bringing with it a host of official, in-house cartoons that had been in production and quietly waiting for release for many months. Alongside the X-Men animation and Transformers, an additional five new animated series were scheduled to debut, broadening the channel's lineup and appeal. In addition, Nickelodeon planned to import select anime titles from Japan, complete with subtitles, giving audiences a fresh and diverse range of viewing options while tapping into the growing American interest in Japanese animation.
Next for Hakushensha — a manga publisher owned by ZAGE and already serializing two shonen magazines, Weekly Shonen Shock and Monthly Shonen Shock — Zaboru was planning to expand its reach by releasing two new categories of manga: Shojo and Seinen, both set to debut as monthly publications. Tomizawa already had a strong roster of talented mangaka eager to submit works in these genres, and Zaboru was thrilled by the creative potential on the horizon. While none of these new series were titles he recognized from his previous world, that hardly mattered to him — in fact, it added to his excitement. For Zaboru, the true joy lay in the promise of fresh, original stories and the anticipation of discovering compelling new worlds through these upcoming manga.
Hakushensha had become a true haven for mangaka, largely because Zaboru made the deliberate choice to allocate a substantial portion of ZAGE's funds to ensure artists were compensated generously and consistently. This policy was unprecedented in the industry, where late or meager payments were common. The mangaka were overjoyed, not just because they were earning more than the industry norm, but because the respect and value placed on their craft were tangible. Even the powerhouse Shonen Jump under Shueisha could not match the pay rates Hakushensha offered. The sentiment reached legendary figures as well — even Osamu Tezuka publicly praised ZAGE, remarking, "Only Hakushensha of ZAGE knows how to treat mangaka right." Under Zaboru's and Tomizawa leadership, Hakushensha's magazines flourished, dominating sales charts and pushing Shonen Jump into the number two spot, a shift that ruffled the feathers of many Japanese businessmen who had long assumed their dominance was unshakable.
At one point, there was even an attempt on Zaboru's life, yet he remained calm and unshaken. Why? Because he and his family were being safeguarded from the shadows by the Aoshidan Group — a security corporation founded by former yakuza under Akechi Hamazou, also known in the past as Rashomon Prince of Hamazou, who happened to be Ayumi's older brother and the owner of the Akaishidan Video Game Company. The Aoshidan members, once feared underworld figures, now earned substantial pay for their elite protection services. Zaboru's family and co-workers were their top priority, and he not only compensated them generously but also treated them as part of his own family. This bond made their mission deeply personal, and the Aoshidan security team was unwavering in their resolve to protect Zaboru at all costs.
There was also Akechi's subordinate, Yatsu, whose intimidating appearance and big body could unsettle anyone. He often lingered near Zaboru's house, leaning casually against a wall while smoking a cigar protecting the family. One day, Zaboru's sister, Sanika, approached him and offered a plate of freshly made gyoza prepared by their mother. Zaboru soon joined her, inviting Yatsu to share the meal with the Renkonan family. At first, Yatsu declined, insisting he wasn't the type to sit down for a family meal — after all, he was just a street punk in his own eyes. But Zaboru persisted, and eventually Yatsu agreed. As they ate together, something in Yatsu's tough exterior cracked. Tears welled up in his eyes; in all his life, no one had ever treated him with such warmth and kindness, perhaps because of his fearsome face and imposing build but the Renkonan continued to offer him genuine warmth, breaking through the walls he had built around himself. Even Sanika remarked with a smile that his face and broad frame were "cool," a comment that made him blush slightly despite his tough demeanor. It also reassured Tatsu, who felt certain that with someone like Yatsu nearby, no one would dare to harm her.
There was also an update from Akai indicating their phone was nearly ready for market. In truth, the device had been fully developed since March, but Zaboru wisely granted them an additional month to fine-tune every detail. This extra time allowed for the creation of high-quality promotional materials, from vibrant flyers to strategic advertisements, which had already generated considerable buzz among potential buyers. The marketing push was paying off, with conversations about the phone appearing in tech circles and casual chatter alike. The slogan they unveiled quickly became the focal point of attention, capturing the imagination of consumers and industry watchers alike:
"AKAI Phone Z1 — A Phone That is Not Only For Calls."
Zaboru chuckled, pleased with AKAI's success in producing an affordable phone designed to compete directly with Nokia's popular models. While it offered comparable performance, it sacrificed some durability to keep costs low, making it a more accessible option for budget-conscious buyers. To enhance its appeal, Zaboru personally ensured the devices came loaded with a rich library of games, including classics like Snake, Space Impact, and even Tetris, turning the phone into not just a communication tool but also a pocket-sized entertainment hub.
Outside of the games, Zaboru also included practical tools such as Notes and a Calculator among the phone's built-in apps. To give users more personalization options, he added a selection of additional ringtones, many of which featured the iconic ZAGE game soundtrack, turning familiar melodies into distinctive phone tones.
Although the full details capability is still hidden, the design itself already makes people interested in this.
The AKAI design stood out sharply from Nokia's — compact, elegantly sleek, and featuring a slightly larger screen while remaining pleasantly lightweight. It gave off the impression of a genuine leap forward in mobile aesthetics, prompting many to describe it as "futuristic" at first glance. Its overall silhouette echoed the familiar Nokia 3210 which was not yet released in this world . This version shed the external antenna entirely, opting instead for an innovative internal antenna — a choice that kept the profile clean and modern. Finished in a striking red-and-white color scheme, it drew the eye instantly. The decision to hide the antenna not only enhanced its streamlined look but also sparked curiosity among tech enthusiasts about how it might affect signal quality and performance unlike any other Cell phones in current Market that have big build and have huge antenna attached to it.
AKAI planned to unveil the AKAI Phone Z1 in early May with a showcase, with its release slated for mid-to-late May, and public excitement was already running high. Now, Zaboru, Akechi, and Hyoga Akai were gathering to discuss the showcases details
To be continued
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