"Ape Inc., the development company founded by Shigesato Itoi for the Mother/EarthBound series, disbanded after EarthBound was completed. Several members of that team, led by Tsunekazu Ishihara, formed a new company called Creatures, Inc. in 1995"
Mewtwo is cropped from the full image, and is their concept design that was pre-release to the movie of Mewtwo Strikes Back, while the foot may be the most glaring issue - look by the head and neck; no fleshtube originally!
(Aware Giygas has other designs, using this one as it's closest to still working in Pokemon universe)
Copied from my comment on Skyehopper's EarthBound video
EarthBound's ties to MOTHER 1/EarthBound Beginnings… This is something I've spent a lot of time thinking about, since I actually ADORE MOTHER 1 and, while I like EarthBound a lot too, find myself frequently a bit annoyed at how many people consider it to outright supplant and replace MOTHER 1 within the series rather than both games being their own separate-but-related works with their own value. Don't pit two successful queens against each other, basically. Anyway. I don't think the fandom perception of EarthBound Beginnings as the Giygas Backstory Game is entirely unfounded with respect to how it relates to EarthBound, since Giegue/Giygas really is the most obvious common thread tying the two games together. Maybe it's just my own interpretation, but I think EarthBound Beginnings kinda reframes, or at least clarifies, Giygas's state in EarthBound as being the end result of a terrible tragedy; you get a much more tangible sense that this is an individual with a history and personality and inner life who has been turned into whatever this is rather than Giygas just being inherently Like That somehow, and, in a sense, Giygas becomes some of the most raw expressions of emotion from Giegue.
My own interpretation of him has always been that he's someone who is fundamentally sensitive and "soft" by nature, who as an infant was given an upbringing that embraced and nurtured and encouraged who he was, until his adoptive mother was abruptly ripped away and he was forced into a cold, "hard" role. I'll admit a lot of this probably slips into the realm of headcanon based on my own interpretations of his nearly entirely implications-based characterization, but I think of Giegue/Giygas as someone who's essentially forced and trapped into the role of "main villain of a video game" whether he likes it or not. Whatever the specifics of his circumstances are, I also think EarthBound Beginnings indicates he stakes a lot of his self-worth on his ability to live up to this role (even if he doesn't see himself as the villain), maybe because the approval to be gained from being good at his job is the closest thing to love available to him, or that he'll let himself pursue, at this point in his life. He hides it behind the veneer of repaying a debt, but I think he offers to spare Ninten because he genuinely wants to have a familial relationship with someone again.
His resentment of humans I think ultimately comes from a place of deep envy, because they have everything he believes he's not allowed to have, that he beats himself up for wanting. I think Giygas is sort of the result of his ultimate effort to sever himself from those desires; literally unpersoning himself in pursuit of becoming the very Abstract Idea of the Type of Person He's "Supposed" to Be, and even then it doesn't fully work, because at heart he ISN'T that person, and even in such a fragmented state he can't force that out of himself. Giygas is CALLED things like the "embodiment of evil", the "Evil Power", etc., but when you finally confront him, he seems more like an embodiment of pain and anguish to me than anything else. During EarthBound's final battle, among other things, Giygas cries out in pain. He calls Ness's name, seems to be pondering the concept of friends. He even seems to be able to feel some remorse and/or fear, pleading for the Chosen Four to "go back" and stating that "it's not right", which Itoi has elaborated on in an interview as being intended to refer to both to Giygas's own actions and to the heroes'. He doesn't want to be here. He doesn't want to be doing this. He's in terrible pain. He's barely even a person anymore. I'm not even confident he's deliberately attacking the heroes so much as they're just kinda being incidentally buffeted by the chaotic storm of energy that comprises his being. The image of Ness's face on the front of the Devil's Machine, too, may represent a desire for connection, a blunt, cobbled-together expression from Giygas that he and Ness aren't so different… Though that's an interesting thing on its own, really. Another consideration is that the Devil's Machine may be like a mirror that reflects the soul, the true self, of the person looking at it. Ness, in his robot body, is gazing into the Devil's Machine from the camera's perspective, and his face, his TRUE, organic face, is reflected back at him in it. Those are just two interpretations, though, and I think there's definitely also a layer of meaning there along the lines of "the potential to become like Giygas is within all of us, even those deemed purest of heart, like destined heroes; nobody is inherently 'above' such a possibility".
Anyways, circling back around, I think in this reading that Giygas would be representative less of the presence of evil than the absence of love and what that does to people. It's a form of emotional and psychological starvation, suffocation, and, taken to its utmost extreme, is absolutely, cataclysmically ruinous. Love, of one kind or another, is needed to build, to heal, to create. A loveless world can only break down, decay, and eventually become nothing but meaningless static… I think that's the "devastation" in the future Buzz Buzz comes from, and what ultimately became of Giygas when he cut himself off so absolutely from love, too. There is also, I believe, meaning relevant to this in the fact that Giygas's influence is most keenly felt throughout the game in the form of manipulating humans into the most callous, unloving versions of themselves.
And yet, even at the very, very end, when there's almost nothing left of his sense of self, and all of Giegue's mental barriers have gone before the innermost core of his heart, he STILL calls out for love, for connection, before finally being put to rest. The denial of love is still something destructive and unnatural, something that must be manually enforced and that is more fragile than what it aims to suppress and control.
