Recaps

Nakayama Takuya approved Takashima’s $15 million plan to relaunch Dragon Ball Z in North America, pairing fast-paced broadcasts with toys and a separate home-video strategy for the earlier episodes. He directed Takashima to pursue licensing and distribution through existing video retailers, then pointed him toward Sega Galaxy for help.

• Nakayama Takuya told Ueda to propose a Bandai flagship store beside Joypolis that would link the amusement park’s visitors to merchandise sales.
• Takashima submitted a revised $15 million proposal built around airing Dragon Ball Z on Cartoon Network and selling toys made from existing molds.
• Takashima and Mitsui Chuta argued that North American fans favored combat, so the project would skip Dragon Ball’s slow early episodes and begin with Dragon Ball Z.
• Nakayama Takuya approved the proposal and instructed Takashima to distribute the earlier Dragon Ball episodes on VHS and VCD through Blockbuster, Walmart, and Target.
• Nakayama Takuya told Takashima to investigate Funimation’s rights, pursue a complete new dub and release, and seek Sega Galaxy’s help with home-video distribution.

Nakayama Takuya discussed expanding Dragon Ball Z in North America before meeting Toei’s Yoshimura at an NHK forum, where Yoshimura proposed reviving Saint Seiya. Nakayama challenged Toei over the anime’s abrupt ending and began explaining why the Hades Chapter had stalled.

• Nakayama Takuya ordered Takashima to use Sega Galaxy’s North American contacts to plan Dragon Ball Z videocassette releases, building on a strategy of TV broadcasts, toys, and VHS rentals.
• At an NHK Research Institute Forum in mid-March, Nakayama Takuya met Toei Animation managing director Yoshimura and discussed the companies’ anime and merchandise businesses.
• Yoshimura proposed that Sega, Bandai, and Toei collaborate on a Saint Seiya remake or sequel, with Masami Kurumada returning to the franchise.
• Nakayama Takuya questioned Toei’s account of why the Saint Seiya anime ended after the Poseidon Chapter in 1989 and accused the studio of rushing its conclusion after deciding to stop production.
• Nakayama Takuya argued that the Hades Chapter’s long shelving had several causes, including declining manga popularity and exhausted production staff, then began identifying tensions between Masami Kurumada and Shueisha as the central factor.

Nakayama Takuya negotiated Sega’s terms for rebooting Saint Seiya with Toei’s Yoshimura, then drew TBS into a separate live-action Rurouni Kenshin proposal. Three days later, Yoshimura returned to Sega’s headquarters, apparently facing an obstacle to the Saint Seiya project.

• Nakayama Takuya told Yoshimura that Sega would lead the Saint Seiya reboot’s planning and set its framework before forming a production committee.
• TBS manager Miyahara approached Nakayama Takuya about adapting Rurouni Kenshin and offered TBS’s production resources and prime-time slots.
• Nakayama Takuya required a compact, action-focused Rurouni Kenshin drama aimed at overseas audiences, with Chinese stunt crews handling the action choreography.
• Miyahara agreed to Sega’s terms and promised to submit a production report on GTO along with TBS’s initial cooperation proposal for Rurouni Kenshin.
• Three days later, Yoshimura urgently requested a meeting with Nakayama Takuya, then arrived at Sega’s headquarters the next morning looking flustered.

Nakayama Takuya learned that Masami Kurumada had rejected Toei and Sega Galaxy’s Saint Seiya proposal because he could not find a meaningful creative breakthrough. Nakayama agreed to meet Kurumada and help develop the project, but only after demanding that Toei accept Sega Galaxy’s authority over planning and creative quality control.

• Yoshimura told Nakayama Takuya that Masami Kurumada had rejected the Saint Seiya proposal, explaining that he feared making a commercially driven project without a creative breakthrough.
• Nakayama Takuya praised Kurumada’s principles, while Yoshimura begged him to meet the manga artist and help him overcome his creative block.
• Nakayama Takuya agreed to visit Kurumada but confronted Yoshimura over Toei’s past interference in Sega Galaxy productions and pressure on its planners.
• Nakayama Takuya said Toei could handle animation and execution, but Sega Galaxy would control planning and quality, warning that he would revoke Toei’s game licenses and Bandai toy orders if Toei went behind Sega’s back again.

Nakayama Takuya arranged a private fishing outing to meet Masami Kurumada without pressuring him about work. After spending a relaxed afternoon fishing and bonding, Nakayama prepared to move the evening conversation to dinner.

• Nakayama Takuya told Yoshimura to arrange a quiet fishing trip with Masami Kurumada and avoid discussing work until dinner.
• Yoshimura arranged a private fishing club at Lake Okutama, where Nakayama met Kurumada at the pier and assured him they would talk only as fishing buddies.
• Nakayama and Kurumada spent the afternoon discussing fishing, sharing stories, and complaining about work without bringing up the proposed anime projects.
• Nakayama caught a large crucian carp, and Kurumada soon caught one as well; the two laughed together over their catches.
• As the sun set, Nakayama saw the clubhouse restaurant lights and prepared to join the dinner Yoshimura had arranged.

Nakayama Takuya brought Masami Kurumada to Lake Okutama to discuss rebooting Saint Seiya, but let him rest instead of pressing him while he was exhausted. The next morning, Kurumada began reconsidering what had first inspired Saint Seiya and waited to see what Nakayama had planned.

• Yoshimura served Nakayama Takuya and Masami Kurumada a meal of freshly caught fish and warmed sake, and the two men reminisced about fishing and manga deadlines.
• When Yoshimura tried to raise the Saint Seiya reboot, Nakayama sent him to the kitchen, and Kurumada admitted he felt unable to draw the story; Nakayama decided to let him rest.
• Kurumada fell asleep during dinner, so Nakayama had his assistant help him back to his room and told Yoshimura not to pressure him.
• Kurumada woke refreshed, read Nakayama's note inviting him to see the cherry blossoms and meet at the men's bath at three, and laughed at Nakayama's unusual approach.
• While wandering the club, Kurumada saw a magazine photo of the Acropolis and constellations, remembered the inspiration for Saint Seiya, and considered whether to return to its original spirit.

Nakayama Takuya persuaded Masami Kurumada to reboot the Hades Chapter as a high-budget OVA, with greater focus on the Gold Saints, and proposed expanding the story through Athena’s conflicts with the Olympian gods. He then suggested Kurumada hire outside writers and artists, leaving Kurumada startled by the idea.

• Nakayama Takuya explained that the Hades Chapter’s story framework was sound but its pacing and repeated fight pattern needed refreshing.
• Nakayama Takuya proposed giving the Gold Saints larger roles in the Hades Chapter and producing it to OVA specifications, with Sega handling international distribution.
• Masami Kurumada agreed to the reboot after Nakayama Takuya promised Sega would control supervision and script direction alongside him.
• Nakayama Takuya suggested that the story could continue with other Olympian gods challenging Athena, and Masami Kurumada identified Ares as a likely antagonist.
• Nakayama Takuya proposed hiring professional writers to develop plots and mythology, then suggested bringing in outside artists as well, leaving Masami Kurumada stunned.

Nakayama persuaded Kurumada to expand Saint Seiya through spin-offs while preserving his creative freedom, and proposed international audits to protect the studio from financial misconduct. After keeping Yoshimura waiting all day, Nakayama met him for dinner and told him to take Toei’s proposal back and tear it up.

• Nakayama urged Kurumada to let other artists create Saint Seiya prequels and spin-offs, building the series into a commercial universe that could fund Kurumada’s other work.
• Nakayama said Sega would take over Saint Seiya’s overseas business and arrange rotating international audits of Kurumada’s studio, with Sega covering the cost.
• Kurumada accepted Nakayama’s comprehensive plan and regained his enthusiasm for the series.
• Nakayama and Kurumada went for massages while Yoshimura waited anxiously for a decision on Toei’s proposal.
• At dinner, Nakayama told Yoshimura to take Toei’s project back and tear it up.

Nakayama Takuya secured Toei’s cooperation on a long-term Saint Seiya expansion plan, then confronted TBS and Dentsu over Sega’s demand for legal and tax oversight of the live-action Rurouni Kenshin project. He left Hattori prepared to restrict the project to Japan if the partners resisted, while pointing to TV Tokyo as a viable alternative.

• Nakayama Takuya proposed producing the Hades Chapter as OVAs, with Sega Galaxy handling overseas distribution and funding overseas promotion.
• Nakayama Takuya revealed that Masami Kurumada had agreed to license derivative works, with Sega Galaxy planning spin-offs under Kurumada’s supervision.
• Nakayama Takuya warned Yoshimura that Toei would lose Sega’s and Bandai’s cooperation if it rushed production or compromised quality, and Yoshimura pledged Toei’s support.
• Hattori reported that TBS and Dentsu resisted Sega’s plan to place legal and tax specialists on the Rurouni Kenshin production committee.
• Nakayama Takuya ordered Hattori to tell TBS and Dentsu that refusing Sega’s oversight would limit the project to Japan and exclude them from later adaptations.
• Nakayama Takuya cited TV Tokyo’s growing late-night programming and advertising revenue as evidence that Sega could work with another broadcaster.

Sega’s GP2 trial play drew huge crowds in Akihabara as players delighted in Metal Slug’s multiplayer antics and Plants vs. Zombies’ detailed gameplay. Magazine and television coverage spread the excitement across Tokyo, leaving the console poised for enormous demand ahead of its launch next month.

• Nakayama Takuya told Hattori that Sega could work with TV Tokyo instead of relying on TBS if negotiations stalled, and Hattori left to convey his position.
• Students crowded into Yamada’s arcade to try the GP2, where Kenta, Fatty, and two other players discovered Metal Slug’s comic reactions when players fought over rewards.
• A college student tried Plants vs. Zombies, became absorbed in its defensive strategy, and asked Yamada how many levels the retail version had after losing the trial.
• Yamada’s reservations topped four hundred, and he ordered another hundred GP2 units as crowds and long queues gathered around Akihabara stores.
• Gaming and mainstream magazines featured the GP2 craze, while Fuji TV reported more than one hundred thousand daily trial players across authorized Tokyo stores.
• A junior high school student told his mother he would skip cherry-blossom viewing to seek out the GP2 demo, as similar excitement spread through Tokyo households.

Nakayama Takuya addressed a shortage of Pokéwalkers by expanding Tijuana production and assigning Hatano a larger role in Sega’s global manufacturing plans. Meanwhile, TV Tokyo premiered Yes, Minister with a pointed news lead-in, and Suzuki recognized the show’s satire in his own frustrating encounter with bureaucracy.

• Nakayama Takuya ordered Hatano to expand Tijuana’s assembly capacity and promised equipment funding to meet North American demand for Pokéwalkers.
• Nakayama Takuya asked Hatano to coordinate with Terauchi on global supply chains and entrusted him with future European production centers.
• Eri told Nakayama Takuya how TV Tokyo used a critical news segment to build anticipation for Yes, Minister.
• TV Tokyo aired the first episode of Yes, Minister, and Suzuki laughed as Humphrey’s bureaucratic evasions echoed his failed attempt to secure a company loan.

After “Yes, Minister” drew strong ratings from exhausted middle-aged men, Nakagawa Jun ordered TV Tokyo to promote the show by pairing its scenes with real government scandals. Its popularity spread by word of mouth, and Takahashi persuaded Yamamoto to watch the next episode at an izakaya.

• Suzuki and the Nakayama family watched “Yes, Minister” and discussed how its satire of bureaucrats resonated with Japanese viewers.
• Sato reported the premiere’s ratings to Nakagawa Jun, who explained why the show appealed to men aged thirty to fifty despite attracting fewer housewives than “The Silver Tycoon.”
• Nakagawa Jun told Sato not to worry about the slow response to the B2B advertisements, explaining that business customers needed time to make decisions.
• Nakagawa Jun ordered TV Tokyo’s news department to edit government scandals together with scenes from “Yes, Minister” and run the promotional clips across current-affairs programs.
• At an izakaya, Takahashi told Yamamoto how widely people at work were discussing the show and asked the boss to switch the television to TV Tokyo.

Takahashi, Yamamoto, and Watanabe bonded over watching "Yes Minister" at an izakaya, while the show’s strong audience response baffled TV Tokyo’s executives because its ratings had stalled. Kobayashi later saw crowds gathering nightly to watch and vent together, revealing that the program’s popularity was spreading beyond the ratings data.

• Takahashi spoke up when Watanabe demanded TV Tokyo, and the men bonded over the broadcast’s mockery of bureaucrats.
• Takahashi and Yamamoto compared the show’s red tape to their own struggles, while Watanabe described the Metropolitan Police Department’s tactics and bought their table beer.
• Takahashi wrote down an advertisement’s number to call about his company’s tax debt, and Watanabe promised to return the next night to watch.
• Sato told Nakagawa Jun that "Yes Minister" ratings had plateaued despite surging hotline calls and a flood of letters from viewers and civil servants.
• Kobayashi entered a packed izakaya and watched customers cheer and curse along with "Yes Minister" as the owner explained that nightly crowds had boosted business.

Sato’s survey revealed that izakayas filled with viewers were greatly undercounted by television ratings, strengthening TV Tokyo’s confidence in Yes, Minister. At Sega, Nakayama Takuya settled a dispute between Hatano and Terauchi by shifting precision production to East Asia and assigning Mexico assembly and packaging, leaving Hatano with less control over manufacturing.

• Sato persuaded Nakagawa Jun that group viewing explained the gap between ratings and audience feedback, so Nakagawa Jun ordered surveys of izakayas across Tokyo.
• At the Bird Heart izakaya, Sato found dozens of people watching Yes, Minister and recorded the venue as a viewer; Watanabe and Takahashi praised the show and suggested airing more episodes and improving commercial breaks.
• Hatano returned from Tijuana and proposed shutting down Mexico’s high-precision assembly lines, with East Asia supplying semifinished Electronic Pet modules for Mexican assembly and packaging.
• Terauchi objected that the added production would burden East Asian capacity and costs, while Hatano argued North America needed reliable deliveries.
• Nakayama Takuya approved Hatano’s production plan and ruled that headquarters would cover rush costs through a global supply chain coordination fund.
• Nakayama Takuya ordered Hatano to get the products into major U.S. retailers before mid-April, and Hatano and Terauchi signed agreements dividing responsibility for components, assembly, and customs clearance.

Nakayama Takuya assigned Hatano to investigate manufacturing sites in Hungary and Poland while planning how Sega could break a deadlock with TBS and Dentsu over the Rurouni Kenshin adaptation. He sent Hattori to enlist author Nobuhiro Watsuki’s support, leaving the project’s future dependent on whether the committee accepted Sega’s terms.

• Nakayama Takuya gave Hatano a preliminary assessment of European factory sites and told him to prioritize Hungary while keeping Poland as a backup.
• Hatano accepted the assignment and warned Terauchi that he would report any defects found in the Tijuana production lines to Nakayama Takuya.
• Hattori told Nakayama Takuya that TBS and Dentsu resisted Sega’s demands for control of overseas rights, transparent accounting, and financial oversight, and threatened to shelve the Rurouni Kenshin adaptation.
• Nakayama Takuya proposed using Nobuhiro Watsuki to pressure TBS and Dentsu by explaining that Sega would fund the ambitious martial-arts production only if the finances were transparent.
• Hattori agreed to meet Watsuki with Sega’s martial-arts stunt team résumé and persuade him to oppose a cheap traditional sword-fighting adaptation.

Hattori used Watsuki’s objections to TBS and Dentsu’s cheap production plan to end their standoff over the Rurouni Kenshin adaptation. Meanwhile, StarCraft’s North American sales and Battle.net’s global matchmaking showed Sega and Blizzard’s growing online advantage.

• Osaki and Miyahara demanded that Sega drop its legal oversight and accounting clauses or risk losing the Rurouni Kenshin project.
• Watsuki rejected TBS’s traditional fight choreography and presented materials from Hong Kong martial arts teams as his minimum requirement.
• Honda backed Watsuki’s creative vision, and Watsuki walked out, leaving Dentsu and TBS without the rights holder’s approval.
• Hattori ended the meeting and warned Miyahara that Sega could take the project to Tokyo TV instead.
• Mike won a StarCraft match on Battle.net and praised its lag-free play and skill-based matchmaking.
• Nakayama Takuya reviewed North American reports showing more than 300,000 StarCraft copies sold in two weeks and noted Battle.net’s worldwide server network.

After negotiations over the live-action 'Rurouni Kenshin' series collapsed, Nakayama Takuya redirected Sega Galaxy toward expanding its game IPs and spin-off content. He also reviewed the production and shipping progress for GP2 and Pokémon electronic pets, kept supplies deliberately limited, and saw Sega’s 'Metal Slug GP2' launch campaign appear across a Tokyo station.

• Hattori reported that Watsuki-sensei had walked out of the negotiations, and Nakayama Takuya decided Sega Galaxy would not fight Dentsu and the television stations over 'Rurouni Kenshin'.
• Nakayama Takuya showed Hattori 'StarCraft's sales and Battle.net growth, then tasked him with developing novels and comics while Sega expanded its other major IPs.
• Nakayama Takuya read reports from Terauchi and Hatano confirming mass production and North American deliveries of GP2 components and Pokémon electronic pets had recovered.
• Nakayama Takuya rejected Best Buy and Toys 'R' Us's requests for more electronic pets, choosing to preserve scarcity and sustain interest until GP2's launch.
• On April 18, Sato and a high school student saw Sega's military-themed 'Metal Slug GP2' advertisements installed on the Yamanote Line platform at Shimbashi Station.

In the week before GP2’s April 25 release, Sega’s game-themed street installations across Tokyo revived memories of its Pokémon campaign from ten years earlier and drew widespread attention. On release morning, Kenta and the fat guy reached Akihabara beneath giant Pokémon balloons and joined the long line to collect their preorders.

• Commuters and park visitors encountered Tetris benches, Plants vs. Zombies signs, and a Treecko standee, while a father remembered Sega’s Pokémon campaign from his school days and showed the display to his son.
• Tokyo newspapers and TV reports compared the new installations with Sega’s 1988 promotion, highlighting the public response and the nostalgia shared by adults and children.
• On April 25, Kenta and the fat guy arrived in Akihabara and gaped at giant Groudon, Kyogre, and Rayquaza balloons above the streets.
• Kenta pulled the fat guy toward Yamada’s Game Shop, where Yamada opened the shutter and urged the preorder customers to line up and collect their orders.

The GP2 handheld and Pokémon Ruby and Sapphire launched in Japan, drawing huge crowds as players tested Pokéwalker transfers and the new games. News of the frenzy spread across Japan and reached the United States, where David and Mike waited outside Best Buy for the American launch.

• Kenta bought two GP2s and Pokémon Ruby and Sapphire, then transferred Mudkip from his Pokéwalker and confirmed its inherited ability worked.
• Kenta and his friend showed off their GP2s on the train, prompting two middle school students to head for Akihabara to buy one.
• Takahashi described Akihabara’s crowds and giant Pokémon balloons to his colleague, who left work to join the shopping rush.
• TV Tokyo reported that more than eighty percent of Tokyo’s initial GP2 allocation had sold by eleven, prompting Sato to rush to Akihabara.
• A Sega staff member told an elderly man about the GP2 and its second restock, and the man went to line up for his grandson.
• In California, David and Mike waited outside Best Buy and discussed the extensive advertising that had led them to the GP2 launch.

The GP2 launched in North America and Japan with strong demand, and Nakayama Takuya received estimates showing worldwide first-day sales had exceeded five hundred thousand units. He ordered Sega to publicize the figure and use it to recruit third-party developers while leaving Europe’s weak sales unresolved until September.

• Mike Evans and David bought GP2 consoles and games at Best Buy, then confirmed that the Pokéwalker transferred Torchic and its Speed Boost ability successfully.
• Customers crowded Best Buy, quickly depleted its initial GP2 stock, and prompted Clark to request more consoles and cartridges.
• Hisao Oguchi reported estimated worldwide first-day sales above five hundred thousand units, including 280,000 in North America, 190,000 in Japan, and 30,000 in Europe.
• Nakayama Takuya blamed Ubisoft’s European distribution strategy for the region’s weak sales and decided to wait until September to address the issue.
• Nakayama Takuya directed Hisao Oguchi to announce the sales figure to the press and Sega’s third-party partners, then invite major publishers to discuss GP2 games.

Sega’s GP2 sold nearly a million units worldwide in its first week, prompting major third-party publishers to commit to games and Sega to plan its next marketing push. The chapter ends with Famitsu praising the launch lineup and reporting GP2’s sales milestone as proof of strong player demand.

• Hisao Oguchi told Nakayama Takuya that Capcom, Konami, Namco, and Enix had begun pursuing GP2 development deals after the sales announcement.
• Nakayama Takuya negotiated with Capcom and discussed plans for more than twenty third-party games to launch in the fourth quarter.
• Hisao Oguchi reported that GP2 had shipped 980,000 units in seven days, including over 520,000 in North America and just over 410,000 in Japan.
• Nakayama Takuya rejected Ubisoft’s request for extra European stock and approved a press release announcing the million-unit milestone and upcoming games.
• Hisao Oguchi outlined the next lineup, including Ace Attorney, a new Sonic game, and Yu-Gi-Oh! Card Battle.
• Famitsu praised GP2’s launch games, and editor-in-chief Hirokazu Hamamura described the first-week sales as evidence of strong player demand.

As the GP2’s strong launch continued across Japan and North America, Hisao Oguchi prepared Sega’s plans for the approaching 1998 E3. He focused the company’s booth on the handheld while Jupiter had only two major games to show, including the delayed The Lost World: Jurassic Park.

• Watanabe and Kobayashi discussed the GP2’s popularity, its games, and plans for a multiplayer session with friends.
• North American players rushed to buy GP2 games and hardware after glowing reviews sparked a second wave of demand.
• Hisao Oguchi reviewed E3’s expanded industry forums and exhibition floor, where PC hardware and game merchandise had gained much more space.
• Hisao Oguchi learned that Sega’s main E3 booth would center on the GP2, with 36 demo stations and a small area reserved for Jupiter.
• Hisao Oguchi and the International Affairs Department head discussed how Universal’s demands had delayed The Lost World: Jurassic Park until the summer release window.

Hisao Oguchi reshaped Sega’s E3 booth plans to emphasize handheld games, then met Frank Marshall in Atlanta to discuss Silicon Valley Online’s E3 strategy and Sega’s plans for game merchandising. Their conversation turned to the next console race, where Sega’s custom graphics chip remained years from completion and Sony’s next system threatened to arrive first.

• Hisao Oguchi ordered Sega to shrink Jupiter’s playable area and dedicate more booth space to GP2, Plants vs. Zombies, and Yu-Gi-Oh!.
• Hisao Oguchi met Frank Marshall in Atlanta, where Frank outlined Silicon Valley Online’s large E3 booth and a Dungeons & Dragons Online graphics upgrade.
• Frank Marshall planned to pitch Silicon Valley Online’s servers, SDK, billing, and anti-cheat services as infrastructure for smaller online game developers.
• Hisao Oguchi explained that Hattori would warn industry peers against rushing into merchandise spin-offs before games had proved themselves with players.
• Hisao Oguchi said Sega’s custom graphics chip was on its fourth revision, while Frank Marshall warned that Sony might launch its next console before Sega was ready.
• Hisao Oguchi recalled that Sega’s directors had already worried in an April meeting that Sony could catch the company off guard.

At E3 in Atlanta, hardware makers and game publishers unveiled major new technology and games, turning the show into a showcase for the expanding PC gaming industry alongside consoles. The chapter leaves the rival platforms and developers competing for attention across packed exhibition halls.

• Hisao Oguchi told Frank that President Nakayama had returned the planning report and said to focus on the work at hand, while Frank said Tom could handle North America.
• Microsoft and Intel drew crowds with force-feedback steering wheels and PC-based arcade machines, while audio and graphics companies demonstrated new chips and hardware.
• Microsoft and SGI announced Project Fahrenheit to unite DirectX and OpenGL and presented a dual-standard graphics driver development kit.
• Reporters noted that hardware companies had become a major presence at E3 as Sega, Sony, and Nintendo continued competing in the console market.
• Namco, Electronic Arts, Eidos, Square, and Nintendo drew crowds with demos of Tekken 3, Need for Speed III: Hot Pursuit, Tomb Raider III, Parasite Eve, and The Legend of Zelda: Ocarina of Time.
• Sierra showcased Half-Life, Homeworld, Baldur's Gate, Fallout 2, and Grim Fandango, while Gabe Newell arranged for a faulty graphics card to be replaced.

At E3, Hisao Oguchi watched Sega demonstrate how Jurassic Park 2 used crafting and dinosaur behavior to create survival gameplay, while Fast & Furious 2 showcased stable split-screen racing. At an industry conference, Hattori began Sega Galaxy’s presentation by explaining why the company had rejected four proposed tie-in projects.

• A Sega technician used scavenged supplies to craft a Molotov cocktail, distract two velociraptors, and escape without firing the hunter’s rifle.
• Hisao Oguchi praised the balance between environmental interaction and hardware limits, then instructed demonstrators to show another strategy for trapping dinosaurs.
• The Overseas Affairs Department head told Hisao Oguchi that Fast & Furious 2’s split-screen performance had been stabilized and confirmed that a judging station was reserved for the Game Critics Awards panel.
• Industry professionals attended sessions on international localization, online promotion, and other business topics before Sega Galaxy’s scheduled presentation.
• Hattori presented four rejected projects and explained that Sega Galaxy had shut them down because their market assumptions and projected costs made them risky.