I’ve also tried to avoid simply singing the game’s praises, but I have to say, as a video game experience, the final boss fight of EarthBound, and what comes after, is unique and mesmerizing, a fitting end to this long journey, so it’s well worth the time to play it.
When perhaps you begin to doubt yourself and despair, darkly wondering if this place, of all places, would not receive you, Ness and his friends are let into the living room. It is to put you in the position Pokey was in that fateful night, when he thought his little brother was lost, and he pounded on the door of the one friend he might have to help him.
Now, on to Magicant, this place opened up within Ness’ mind, perhaps preexisting there and unlocked, or perhaps created by the Sound Stone and the eight Your Sanctuary locations.
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?
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.
Like a great tapestry, vertical and horizontal threads have met and become intertwined, creating a huge, beautiful image.