Central Theme / Video Games

Remember, a Central Theme is not the same as An Aesop; a theme is a question, idea, topic or concept that the text explores, while an Aesop is a conclusion the author reaches about the theme or a lesson they wish to impart to the reader. As such, you should avoid phrasing your examples as conclusions.
  • Ace Attorney:
    • The series as a whole: The truth will always make itself known.
    • Phoenix Wright: Ace Attorney: There will be people trapped by circumstances beyond their control, and they need someone on their side to defend them and clear their names.
    • Phoenix Wright: Ace Attorney: Justice for All: Are amoral actions justifiable by sympathetic intentions?
    • Phoenix Wright: Ace Attorney: Trials and Tribulations: What does it really mean to "defend" someone?
    • Apollo Justice: Ace Attorney: What's better: law based on absolute proof or law based on human evaluation?
    • Ace Attorney Investigations: Miles Edgeworth: When the law is limited or perverted, how can we ensure justice without resorting to simple vigilantism?
    • Gyakuten Kenji 2:
    • Phoenix Wright: Ace Attorney – Dual Destinies: How far can we trust others when the evidence is against them?
      • The dangers of hiding your emotions and how you should confront them.
    • Phoenix Wright: Ace Attorney – Spirit of Justice: How much are we defined by our heritage and past experiences?
  • Amnesia: The Dark Descent: How far one is willing to go for redemption.
  • Amnesia: A Machine for Pigs: The way an industrialized society views its workers.
  • Assassin's Creed has the Arc Words of "Nothing is true, everything is permitted" and examines how this idea evolves and applies to different individuals and contexts.
    • The real theme is the struggles of history itself, that our ancestors are humans, and for all our relative progress, people are still the same more or less. Great figures in history have Feet of Clay and are more human and down to earth than expected and that humanity is only the inheritance of all past achievements and that descendants have a responsibility to make "all this suffering worth something".
    • The struggle between the Assassins and Templars is about the nature of power and freedom. To what extent do people need leaders to define and direct their lives, and to what extent does democracy work? Both the Assassins and Templars have a millennia long philosophical debate over this with no real resolution, with the running theme of compromise, failure, and Humans Are Flawed.
  • Bastion: You need to let go of the past.
  • Batman: Arkham Series:
    • How far can a man be pushed until he breaks?
    • The theme of the second game, Arkham City, is specifically a question of whether criminals deserve basic fundamental human rights. To what extent do the worst of humanity command compassion and restraint? What does it say about a society that decides to wash their hands of them and simply corral them to a dustbin where they will eventually be subject to Kill 'em All?
  • Beyond Good & Evil: Question everything. Never take truth for granted.
  • BioShock:
  • BioShock Infinite: Constants and variables (some things can be changed, others cannot). Also what does redemption really mean? Is religion capable of giving a man a second chance, or is it a crutch to avoid taking responsibility?
  • BlazBlue:
    • The struggle of free will versus predestination.
    • Summed up by the announcer: "The wheel of fate is turning. Rebel one. Action!"
  • Bloodborne: The madness and insanity caused by and of a never ending hunt. Whether that be a hunt to stop a plague, a hunt for knowledge to ascension, a hunt for eyes and the hunt for progeny.
  • Borderlands: The love of money is the root of all evil.
  • Borderlands 2: In addition to continuing the above theme, "hatred" is important. Over the course of the game, you begin to hate Handsome Jack as a true evil force that needs to die rather than a funny Faux Affably Evil jackass, and he in turn comes to truly hate you for everything you've done in the course of disrupting his plans.
    Anthony Burch: Now, I totally acknowledge that this is the creepiest and most negative sounding theme ever, and I’m not gonna throw out that little tidbit if I'm ever asked to defend video games as an expressive medium, but there it is.
  • Bravely Default: What takes the most courage of all, is the courage to refuse.
  • Catherine: Part of being an adult is accepting the consequences of your actions.
  • Chrono Trigger: Even the smallest of actions can change the future in a significant way.
    • Chrono Cross:: Your actions, good or bad, will have unintended consequences. Also, you need to see the forest for the trees, and accept that there's a bigger picture.
  • The Civilization series: What does it take to raise a civilization from nothing to greatness?
    • Civilization: Beyond Earth: What does it mean to be "human", exactly? And how might we have to change that meaning in the future?
  • Command & Conquer: Tiberium: Will you embrace change or resist it?
  • Command & Conquer: Red Alert: Is there really a better world than what we have now?
  • Condemned: Criminal Origins: The homeless, and middle/upper-class society's view of them.
  • Conker's Bad Fur Day: Will wealth and power really give you what you honestly want?
  • Crusader Kings: The real price of power is the human cost. Politics ultimately boils down to human interaction, and personal friendships and rivalries can decide the fate of nations. Cultural and religious differences can produce conflict and tension but are not insurmountable, and sometimes the bigger danger is the one closer to home. Your best-laid plans for the future sometimes go wrong through no fault of your own, so it's always good to cultivate possible alternatives.
  • Dangan Ronpa: Explores and challenges the notion that Humans Are Bastards. Can hope overcome overwhelming despair?
  • Dark Souls: Fire, death, what beauty means in the Crapsack World of Dark Souls, and ultimately, Humans Are Good.
  • Dark Souls II: If the world runs by an infallible cycle, do any of our choices really matter? Should we rebel against the cycle or make peace with it? Perhaps what makes a choice meaningful is if we conquer adversity and fight in spite of the apparent uselessness of our choices?
  • Dark Souls III adds the theme that when a Crapsack World has reached the depth of awfulness can anything really be worse. Even an age of Dark? and nothing last forever but one legacy can live on for eternity, for better or worst.
  • Dead Rising keeps a running theme from corrupt government officials, the selfish who wish to profit and to the psychopath bosses: Is the greatest threat during a crisis the crisis itself, or other people?
  • Deus Ex: Worries of the modern age, in particular self-aware AI, governmental conspiracies, the rise of cybernetics, and the loss of an easy way out.
  • Dishonored:
    • In a corrupt society, criminals, smugglers and assassins are more honorable than the lords who have power.
    • Choices determine who we are and the world we live in, every choice has consequences in big and small ways, and living with those choices is the hardest thing one can do.
    • What do people do when they get a little bit of power? Does power always corrupt or can people choose to be different?
  • The Dragon Age series as whole: Loyalty and friendship can change a Crapsack World for the better.
  • Dragon Quest has themes for many of its games:
    • Dragon Quest IV: The power of teamwork: What 1 or 2 people could never achieve can be easily accomplished by a larger group.
    • Dragon Quest V: The importance of family: When you are cornered and feeling helpless, your family will be there to help.
    • Dragon Quest VI: Dreams and Reality: What changes can someone's dreams have on the world around them? What does it mean to exist within a dream, with the possibility of disappearing when someone else wakes up? Also, the end of the game is about the triumph of hope over despair.
    • Dragon Quest VII: Time travel. Save the past in order to save the present.
  • The Elder Scrolls III: Morrowind: Divinity. What makes a god, what comes with being one (religion, in particular), and how far mortals would go to achieve godhood.
  • The Elder Scrolls V: Skyrim: Is the world worth fighting for?
  • Fahrenheit: Guilt, murder, and redemption (basically all the words written behind Lucas on the cover art).
    • Heavy Rain: How far are you willing to go for someone else's sake?
    • Beyond: Two Souls: Death and growing up, especially growing up in stressful situations.
  • The Fallout series: Even After the End, people will still try to kill one another.
    • Via Word of God, the series' other central theme is that you need to let go of the past. In New Vegas in particular there is a direct correlation between a faction's evilness on the Karma Meter and how tightly they cling to the values of the past.
    • Fallout: New Vegas has a theme beyond that, and a different one for each DLC. In the game overall, it's that all power is a gamble (quite appropriate for Las Vegas) and small things can tip huge scales.
      • In Dead Money: Obsession is a cage. (Begin again, let go.)
      • In Honest Hearts: We're all tribes in the end and family forgives no matter what, so long as you admit that you went wrong.
      • In Old World Blues: The Wasteland may be harsh, but the Old World was no kinder. Look to the future - not for something better, but to make it better.
      • In Lonesome Road: One person with one careless action can leave unimaginable scars, and the power of symbols - particularly flags.
      • The theme of letting go of the past plays a key role in each DLC. In Dead Money, the fall of the Sierra Madre came from its owner's efforts to keep the woman he loved safe forever, and the main plot is driven by each character's inability to let go of the reasons why they originally came to the Sierra Madre. In Honest Hearts, you decide whether Joshua Graham lets go of his past or embraces it. In Old World Blues, the peaceful ending of the DLC has you convincing the Think Tank they need to let go of their mad science and leave the Mojave be. Finally, Lonesome Road centers around Ulysses' inability to let go of the ideals of Hopeville after the Courier unknowingly caused its destruction.
    It's said war - war never changes. Men do, through the roads they walk.
    • Fallout 4 also puts a heavy emphasis on letting go of the past. The most antagonistic faction in the game - the Institute - is convinced its isolation and ties to Pre-War civilization make it superior to everyone else. Conversely, the most moral - the Commonwealth Minutemen - has to rebuild itself completely from scratch to do its job right. The East Coast Brotherhood of Steel now harken back more to the activities of their original West Coast brethren, and their inability to get over the massive losses they suffered at the hands of the Super Mutants ten years ago in 3 has resulted in them collectively Taking A Level In Jerkass. And the Railroad had to rebuild their entire organization as more of a clandestine spy agency after the Institute's blitzkrieg against them. The Institute also shows an active contempt for the Pre-War world (which they blame for causing the Great War), and are actively attempting to erase all remaining records of the Old World so that they can create what they think is a "perfect" society. The Brotherhood of Steel instead romanticizes the past, wanting to return humanity to the glory of the Pre-War days, but unfortunately are also bringing back the xenophobia and genocidal tendencies of that time. The Minutemen and Railroad base themselves after famous cultural movements in American history - the Revolutionary War and Underground Railroad - but just want to help people and progress the Wasteland forward into a better world.
      • A second theme is deciding who, and what, makes up human civilization in the 23rd century. Synths, Super Mutants, Ghouls, robots/A.I.s, irradiated humans and the very few "pure" humans left all have to live together. Some think they're better than others - but who's counting?
      • The themes of the story arcs for the companions (and the main storyline itself) in 4 are about the need to reinvent oneself, struggling with identity, and the need to let go of the past to begin anew. To name a few examples: The Sole Survivor, who is the last known unmutated human left from Pre-War America, has to come to terms with the fact that the three things they defined themselves as before the Great War - being a soldier/lawyer, spouse, and parent - are completely impossible to recapture, and they have to learn to reinvent themselves as someone new in order to survive in the Wasteland. Connected to that, the entire game's tagline is "Welcome home," which signifies how the Sole Survivor has entered a land both too familiar and alien for comfort, as their home is dead but still lives on through the bombed-out ruins cutting across the Commonwealth. Piper Wright reinvented herself as an Intrepid Reporter (in a world without newspapers) after fighting to uncover and spread the truth behind her father's murder, but it has left her isolated among her peers in Diamond City and means her only friends are her little sister, the Sole Survivor, and Nick. The aforementioned Nick Valentine is a prototype Synth whose memories and personality are based on a Pre-War detective, and he struggles to establish himself as his own man; one who's not the Pre-War detective, and not a machine of the Institute. Strong is a Super Mutant who has forsaken his mutated brethren and harbors a great deal of respect for humans, believing them to be stronger than mutants and tries to act more like them (not always successfully, but he tries). Ada watched her entire caravan get massacred by the Mechanist's robots, and is desperate to avenge them - even though she knows that her friends would just want her to move on with her life. She's only able to truly let go if the Sole Survivor spares the Mechanist, teaching Ada mercy and enabling her to let go of the past. The atrocities Robert Joseph MacCready committed while running with the Gunners - which he did in the name of saving his sick son - still haunts him, and he's struggling to move past them while staying a mercenary.
  • The Far Cry series has an overarching theme of men becoming monsters, whether figuratively or literally:
    • Far Cry 2: War for the sake of war, and that eventually the only way to make it end is to save the innocent and kill everyone else, including yourself.
    • Far Cry 3: Insanity, the blurred line between fantasy and reality, and whether or not a normal person can ever be good again if they choose to go down the rabbit hole and embrace their inner warrior.
    "Have I ever told you the definition of insanity?" (It's doing the same things over and over and expecting a different result.)
  • Once Final Fantasy started to develop genuine plots, it began to look at themes:
  • Fire Emblem - Teamwork and camaraderie.
  • Fleuret Blanc discusses materialism, obsession, and collection; the role of objects in our lives and the meanings we attribute to them.
  • For Honor Is there really honor in war?
  • Grand Theft Auto games deal with the over-the-top nature of American popular culture, the sliminess of mass media and ubiquitous corruption.
    • Betrayal and revenge is a theme of Grand Theft Auto III. He appears to be revenge on various people for betraying him, in particular Catalina. Grand Theft Auto: Vice City likewise deals with a character who has been betrayed twice and must betray others in return to survive.
    • Grand Theft Auto: San Andreas deconstructs the True Companions sentimentalism in street gangs. The people who you think are your real friends will sell you out if you get in their way. Your real friends turn out to be the ones who are there for you when you are really down.
    • Grand Theft Auto IV: Your past scars your future. Every character has one mistake they regret and try to fix it in some way or another. Most importantly, is The American Dream still alive?
    • Grand Theft Auto V: In an age where everyone is willing to betray, kill and steal in the pursuit of the almighty dollar, is loyalty still a virtue worth dying for?
  • Half-Life — Is a One-Man Army Icon of Rebellion against an Orwellian state truly a hero, "The One Free Man", or an Unwitting Pawn to circumstances and forces beyond his understanding and control?
  • G-Senjou no Maou: In this world, there are only those who use money and those who get used by money.
  • Higurashi: When They Cry: Poor Communication Kills, Sinners must atone for their sins and not blame someone else for them.
  • Hotline Miami 2: Wrong Number: The viscerally delightful, briefly satisfying, and alluring, but ultimately pointless and self-destructive nature of violence.
  • inFAMOUS: "Any man can handle adversity. If you truly wish to test a man's character, give him power."
  • Jet Set Radio: Expression.
  • Killer7: Every nation has its own culture, and one nation forcing its culture onto another will only make the other nation bitter.
  • Kingdom Hearts: One person may be weak, but no man is an island. The Power of Friendship makes anything possible, if you're willing to try hard enough.
  • Kingdom Hearts: Chain of Memories: The nature of memory seems to be observed in this game. All kinds of memories are observed, from Sora's true memories to the fake memories of the Riku Replica. The game even seems to suggest that even false memories can be of importance.
  • Knights of the Old Republic: Is redemption truly possible for everyone?
  • Knights of the Old Republic II: The Sith Lords: Even seemingly innocuous actions can have unforseen long-term consequences.
  • The Last of Us:
    • Partnership. Almost every named character has or had some sort of partner or companion.
    • Selfishness comes in at a close second. There's rare exceptions but the motivations of almost all the characters have some degree of selfishness to them.
  • Left 4 Dead is interesting in that the theme - The Power of Friendship - is almost entirely told through gameplay, e.g. committing traitorous acts such as running away from your team will draw a tank or hunter to you, getting you and probably everybody else killed.
  • Legacy of Kain: Take a Third Option. There's always one somewhere.
    • The developers of the first game in the series described its core motif as "What is evil? Perhaps it is only a perspective." This theme has coloured every game in the series to a greater or lesser extent, with its extensive use of Grey and Grey Morality.
  • The Legend of Heroes: Trails in the Sky: No one person, no matter what they've done in the past, no matter what they've done with their lives, is completely beyond love and redemption. Any life can be given meaning so long as you're willing to reach out to them. Also nobody does something without motive or purpose, we all have our own reasons for the choices we make.
  • The Legend of Zelda: A true hero needs power to make a difference, wisdom to make good choices, and courage to face adversity.
  • LISA: Vicious Cycle of Abusive Relations, and Cycle of Revenge over course of generations until one can break the cycle.
  • Live A Live: Can anyone, even the seemingly nicest person you know, become evil if they have enough hatred inside them?
  • Lollipop Chainsaw: Love always finds a way.
  • The Longest Journey: Mystery is important, there is no magic in knowing everything.
  • Lost Odyssey: Is being immortal really as great as it sounds?
  • Lunar: Silver Star Story:
    • You can do anything if you have people you care about.
    • The Fate of the World.
  • MadWorld:
    • Humans Are Bastards, and this isn't about to change any time soon. All you can really do is is stiffen your spine and keep going.
    • Anarchy Reigns: When, if ever, is it right to take the law into your own hands?
  • The Mafia series of game each have their own theme and considering the world the series take place in they are dark. The main one of the series however is that one can never truly escape from the Mafia once involved or lead a peaceful life even if you are no longer a member.
    • City of Lost Heaven: How one can be roped into a life of crime and once involved deeply can never truly escape. the protagonist learn this in the worst way possible
    • Mafia II: How one must be willing to give up and lose everything to have a chance to succeed in the mafia.
    • Mafia III: Crime can pay, but one must be smart.
  • Mass Effect:
    • Can a single person change the fate of the galaxy?
    • Also the fact that sometimes, no matter how hard you try or how well you think you're doing, you can never get a flawless victory. Sacrifices must be made, and you can't save everyone. Despite this, things can always get better.
    • And actions that you take, no matter how small or insignificant, can come back to haunt (or help) you later. We are the summation of our choices.
    • Centrally, the story of all three games seems to have a great deal to do with the emergence of AI and the way the inevitable conflict with organics will be played out or resolved. This itself can be tied into the greater theme of parenthood and creators-verus-creations. We dare you to find a single main character in the game who doesn't have some sort of family issue. If you actually do, they'll probably instead have issues with their mentors, trainers, employees/employers, oldest friends, or someone else who could be said to have created or been created by them.
    • The risks of cultures and societies achieving things they haven't earned are presented multiple times throughout the series, and are central to the choices at the end of all three games.
    • No matter how impossible it may seem, a Third Option can be there when you need it most.
    • Being the person in charge is not always fun or glamourous, especially in this case.
  • Mega Man X For the series as a whole: Is it possible to change what you were designed to be?
  • Metal Gear has several themes interwoven through the series:
    • Pacifism is good and War Is Hell.
    • There is a large difference between reality and fiction.
    • Though you are influenced by your situation, it's your choices that determine who you are.
    • Your past will haunt you for the rest of your life.
    • On another note, the games also have themes that are often summed up in a single word. The first Metal Gear Solid had the theme of "GENE". The theme of MGS2 was "MEME". The theme of MGS3 was "SCENE". The theme of MGS4 was "SENSE". The theme of Peace Walker was "PEACE". And the theme of Revengeance is "REVENGE". For Metal Gear Solid V, the themes are "REVENGE", "RACE", "PAIN", and "LOSS". Or, more accurately, the pain that comes from a loss. These themes tend to crop up a lot in the game that they describe, although they are often referenced in other games. To the extent that mission packs for the multiplayer of 4 were named the "GENE" "MEME" and "SCENE" expansions, and all included elements from MGS1, MGS2, and MGS3 respectively.
  • Metroid:
  • Monster Hunter: The perennial fight between man and the wildlife.
  • Mortal Kombat: How the world is worth fighting, killing and dying for.
  • NieR: Futility and the true meaning of a sacrifice.
  • No More Heroes: Violence and revenge both have consequences and are more than "just a game".
  • No More Heroes 2: Desperate Struggle: Killing others for no reason is wrong and shouldn't be glorified.
  • ''Parappa The Rapper:
  • Persona: You can't run from yourself. Doubles as the core theme to the Persona series as a whole. Another theme is The Power of Friendship is worth living for and no matter how hard life can get, your friends always have your back and they will support you.
    • Persona 2:
      • How rumors affect reality. Personal responsibility for making the world what it is and what we want it to be, and the consequences of failing to take responsibility.
      • Eternal Punishment specifically: Acceptance that life may not go your way or how you planned and that adulthood is somewhat terrifying, but you can still make the best of what you got and that there are good things about adulthood,..."just a few".
    • Persona 3:
      • No matter what, hope for the future. Nothing is ever truly hopeless.
      • Remember that you will die one day (Memento Mori), but do not long for death and instead live your life to the fullest.
    • Persona 4: Is the truth attainable? Can one successfully dispel the fog of deception?
    • Persona 5:
      • Comfortable social order isn't worth the suffering caused by corrupt authority figures who exploit and abuse the people under them for their own gain. Sometimes it's better to rebel than to quietly accept how things are.
      • Justice and the law. What the former means as a personal or societal ideal and whether the latter means anything when the ones responsible for upholding the law so easily break it with little to no consequence.
  • Pikmin - Teamwork. Alone we are weak. Together we can do anything.
  • Pillars of Eternity - Memory, reincarnation, and betrayal. The Watcher remembers their and others' past lives... except the great betrayal that made them what they are and bound them to the Big Bad. Late in the game, the topic of divinity and why mortals need gods also comes to the forefront.
  • Planescape: Torment - You Can't Fight Fate. The Nameless One may save and redeem his companions, civilizations and his enemies, but in the end he simply can't save himself.
    • Most themes in the game (including whether it errs on the side of Screw Destiny or You Can't Fight Fate) depends on how you play it and personal interpretation of the ending. However, one of the larger ones, one that links in with the Arc Words ("What can change the nature of a man?") is that of Change. What changes, what doesn't, and whether anything can't.
  • Pokémon:
  • Portal / Portal 2: If Humans Are Flawed, why do we expect our self-aware creations to be any different?
  • Prince of Persia (at least the Sands of Time sub-series): Every action has consequences. You can't evade them forever.
  • Psychonauts:
    • The little (or not so little) things that happen early in life stay with us forever. Freud Was Right
    • People are complicated, and deep down we're all children.
  • Red Dead Redemption: Everyone eventually pays for what they've done.
    • Progress always wins out over raw savagery.
  • The Reconstruction: Scope; the necessity to understand all sides of the story and the full truth before one can make the correct decision, and the danger of jumping to conclusions. However, you must acquire the necessary knowledge without also losing sight of what is truly important.
    "How far back must we stand before we can see everything ahead? And...does that mean we must lose sight of what was closest to begin with?"
    • This is strongly represented by the Multiple Endings; if you get the normal ending, your scope stays in place, and does not expand. In the Golden Ending, your scope explodes, as you realize the story was Science Fiction all along, not Fantasy.
    • I Miss the Sunrise is the inverse of this; whereas The Reconstruction's scope went from small to big, here the focus is on big to small.
  • Rise of Legends: In the end, is there any difference between magic and technology?
  • Quite unusually for an over-the-top, uber-silly action game, Sengoku Basara 3 has a fairly downbeat one, seeming to be about how all the fun times and glory days are either over and done with or coming to an end. Instances include Mitsunari's total anguish over the death of Toyotomi Hideyoshi, Motochika constantly muttering "those days are long gone", Oichi degenerating into a Psychopathic Woman Child, Yoshihiro still fighting despite knowing his generation's practically over, the lack of well-known characters from previous games due to plot purposes... oh, and being set at the very tail-end of the Sengoku Jidai is a fair indicator. Still, considering the plotline about Tenkai attempting to resurrect Demon King Nobunaga and succeeding, maybe it is telling us that it's better to move on.
  • Rogue Galaxy: Do heroes want to save people just because it's right, or because of their own personal desires and scarred pasts?
  • Rule of Rose: The difference between an adult and a child's mentality, the difference between fairy tales and reality (and how the two combine), and the different forms of love.
  • Saints Row:
    • Power can be lost as easily as it can be gained.
    • What do you do with power? Do you enjoy it's benefits and keep good PR or do you flaunt it and remind the world why you have it?
  • Sid Meier’s Alpha Centauri: Even on other worlds, humanity is still human... but can it become something more?
  • All of the Silent Hill games have one (with the possible exception of Origins).
  • Shin Megami Tensei:
  • SimCity: What it takes to run a city efficiently (...or inefficiently).
  • The Sims:
  • Skies of Arcadia: How love and friendship affects and changes people; the lengths to which people will go for their ideals or love for others.
  • Sly Cooper: Envy gets one no where. All the Big Bads in the series have been driven by jealousy, primarly of the Cooper Clan.
  • Sonic the Hedgehog:
    • Sonic the Hedgehog CD - Technology is not inherently evil as long as mankind does not misuse it. The Bad Future shows us a portrait of a world overrun completely by technology but Good Futures illustrate technology and nature co-existing in harmony, making for a better Little Planet.
    • Sonic Adventure 2:
      • Poor Communication Kills. For example, Sonic is mistaken for Shadow and wrongly arrested. Shadow misunderstands Maria's final request and nearly destroys humanity instead of protecting it as she wanted him to.
      • Are people innately good, or innately evil?
    • Sonic Heroes - The supah awesome power of TEAMWORK!
    • Sonic and the Black Knight - Who Wants to Live Forever?
    • Sonic the Hedgehog (2006) - Do The Needs of the Many really outweigh the the needs of the few? Since Elise is used as a living seal for Iblis the world is safe from destruction, but she obviously suffers from it and has to force herself not to cry so as to not release the god through her tears. After being confronted about it by Amy, Silver wonders whether or not it's right to kill Sonic to save the future and later on in the story Silver is reluctant to seal Iblis inside of Blaze thus sending her into another dimension and out of his life even though doing so will keep the world safe. At the end of the game, when Elise has to blow out the Iblis Flame to stop it from ever existing, she is hesitant to do so since that will erase the meeting between her and Sonic. She even cries, "I don't care what happens to the world!" She has to choose between keeping the first friend she ever made and everyone else.
    • Sonic Generations - Take the best of the past and look forward to the future.
    • Sonic Rush - You can't always do things by yourself. Blaze's reluctance to accept Sonic's help causes her to force him into fighting her, after which she finally welcomes his help.
  • Starcraft:
  • Starcraft II:
  • Super Paper Mario - The Power of Love, any and all love. All the bosses represent some form of perverted love, and all the characters showing genuine love end up redeemed. Almost every NPC talks about or shows some form of love, whether it be romantic love, friendship, familial, even love for the environment.
  • Tales Series: There is no such thing as "pure evil." Even the most vile of villains have a reason behind what they do. Also, placing all of your hopes on a single person to save the world is going to mess them up.
    • Tales of Symphonia: It's never too late to atone for one's sins. Every life has value, and everyone deserves the right to live happily.
    • Tales of Vesperia: Making your own choices. It's better to choose what you want to do or what you feel is right, rather than resign yourself to what others expect of you or what you think you have to do.
    • Tales of Xillia: It is better to work together to forge a better future for everyone instead of mindlessly devoting yourself to a single cause.
    • Tales of the Abyss: Don't let prophecy or fatalism decide your actions. Your family, your nation, or the circumstances of your birth don't define who you are; only you can do that.
    • Tales of Phantasia: Things are rarely as they first appear.
    • Tales of Berseria: Revenge is pointless; there are greater causes worth fighting for. Humanity does not need to be "saved" from itself. Also, treating other people as tools is monstrous.
  • The Talos Principle: The plot behind the puzzles is a discussion of what it means to be human, and whether it's possible to program a machine that can qualify as human in some sense. The expansion continues this, with focus on how the deeds of individuals reflect their value.
  • Tekken: The conflict between succeeding generations.
  • Tenchu: The need to exercise power wisely and responsibly.
  • Thief:
  • Thomas Was Alone:
    • The importance of teamwork and making connections with others to solve problems and make things better for yourself and others.
    • Benjamin's Flight: The dangers of hubris and overconfidence.
  • Threads of Fate (aka Dewprism): Destiny and Goals, and acting against one's fate.
  • The Turing Test: How different is human mind from a machine?
  • Touhou:
    Akyuu, Forbidden Scrollery ch48: "When they're kids, everyone thinks there's only one truth. They think that, just like when they used to ask questions to their parents or teachers, every problem has a definite answer buried somewhere, waiting for them to find it. But, the idea that the world is finite is simply a delusion of us humans. Once you get older, you'll realize that the world is infinite. [...] If the world is made up of the infinite, then there are infinite truths as well."
  • Twisted Metal: Pursuing your dream at any cost.
  • Umineko: When They Cry:
    • Because of love, we are able to see things that we could not see before. But because of love, we also see things that shouldn't exist.
    • The difference between facts and truth and that truth is, in most cases, entirely subjective.
  • Uncharted: Luck, Honor (or lack thereof), Deception, and Greed respectively.
  • Warcraft III: Don't let thirst for revenge consume you. Don't draw hasty conclusions. Know your priorities.
  • The World Ends with You: To truly live, you have to reach out to the world.
  • Wizardry VII: Crusaders of the Dark Savant: Do you have free will? Does anyone? Does mankind? Or is it all destiny, preordained long ago?
  • Xenoblade: Screw Destiny. Humanity should the one to decide its own fate.
  • Xenoblade Chronicles X: Can people from vastly different backgrounds live together in peace?
  • Xenogears: Everyone is broken and trying to become whole—often at any cost.
  • Xenosaga: Clinging to the past perpetuates suffering; progress comes about by letting go.

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