I never bothered to look it up or found out or anything, but why do you think they selected “EarthBound” to be the English, western name for the game?
Still playing EarthBound.
With the eighth sanctuary, Fire Spring, today we’ll complete the final note in the Sound Stone’s melody. Thus today’s will be a highly musical episode, so I could wish I were more knowledgeable on that subject, but at least I can play some clips of the songs under discussion and you can decide for yourself how far to go with my amateur musicology.
In terms of historical and literary precursors here, EarthBound’s Lost Underworld clearly owes something to conventions established in the Hollow Earth sci-fi subgenre, starting back with Jules Verne again, his Journey to the Center of the Earth, and to Arthur Conan Doyle, with his Up-esque plateau of un-extinct dinosaurs in The Lost World.
Alyse Knorr opens her delightful Super Mario Bros. 3 by posing three interrelated questions: “Why does everyone love this game so much? Why do I love it so much? Why was it so incredibly successful?”
Like a great tapestry, vertical and horizontal threads have met and become intertwined, creating a huge, beautiful image.
Chrono Trigger, by Michael P. Williams, opens brilliantly.
“Essay Twenty-Five: Conversation with Patrick Ward–On Where the Wild Things Are, Country Music, and Rites of Passage”
That’s pretty germane to where I’m at right now with EarthBound, actually. Because Ness, where we left off, he’s about to be in a world of his mind’s creation. It’s sort of his dream or his imagination, and we’re going to see how he returns to the waking world, to real life, at the end of that.