occasionally fight against a miniboss on certain stages of the game. The title uses a respawn system where players, upon losing a life, continue immediately at the same location. Getting hit by enemy fire or colliding against solid stage obstacles will result in losing a life, as well as a reversion of the ship's firepower to its original state; once all lives are lost, the game is over unless the players insert more credits into the arcade machine to continue playing. After completing the first loop, the game returns to the first stage; completing the second loop achieves the true ending. Development Sorcer Striker was first project to be developed by Raizing (now Eighting), a Japanese video game developer founded by former Naxat Soft and Compile staff who previously worked on the Aleste series. Its development was helmed by a crew of approximately four members with designer Kazuyuki Nakashima, Seirei Senshi Spriggan programmer Yuichi Toyama, artist Kenichi Yokoo and then-27 years old freelance composer Atsuhiro Motoyama, with the team recounting its creation process and history through various Japanese publications. Toyama wanted to develop an arcade project after working on both Senshi Spriggan and Spriggan mark2: Re-Terraform Project, as the team were discussing what to make when Raizing was first founded. Due to his president's connection with Toaplan as a former employee, Toyama decided to work on an arcade game with Toaplan providing consultance and advising to the team, as well as licensing their arcade board for launch. Sorcer Striker entered development in March 1992 with the staff working on the bedroom of an apartment using development tools from Toaplan, initially envisionsed as a Chinese martial arts-themed shoot 'em up under the working title Haougekiden Saifuaa, however Tatsuya Uemura and other members of Toaplan advised the team that shooter games need a worldwide appeal and the project was ultimately revised into a fantasy-themed shoot 'em up approachable for any skill level to attract RPG players on consoles. The power-up system was modelled after MUSHA, as Yokoo was a fan of the game. To portray the player's shots and explosions more flashier, the team introduced mecha elements into their design and aimed for a steampunk-esque aesthetic. Ship designs were given hand-like extremities as the team wanted to give them character; Yokoo stated that said designs also served as an experiment to determine if they could merge the ship's operability and personality together