There are several themes that comes to the fore when playing Tales of Symphonia that the player is forced to consider. When the player is treated early in the game to some of the prejudice that half-elves face (Genis quite adamantly denies that he is a half-elf, even when another half-elf identifies him as one), most would dismiss it as something regional. But upon reaching Tethe'alla, a world where half-elf discrimination has reached a point where they can be killed for even minor crimes, the lines between races, the things that divide them and the reasons for why those lines exist come to the fore. In their dialogues, the characters discuss these differences at length and muse on their own views of race. Lloyd, the quintessential optimist, treats everyone the same and represents the ideal attitude that one should adopt in the new world. But the stereotypes of half-elves as beings of evil intent (as the Desians and Cruxis are primarily composed of half-elves) constantly beat him down, forcing him to truly think on his beliefs. However, he remains strong in his convictions and ultimately keeps his ideas alive, despite the crushing odds that he and his friends are presented with at every turn, allowing for the player to think carefully on their own moral beliefs in regard to race and whether or not they could possibly have the same strength of character.
Another primary philosophical point that is strongly made in the course of the game is the idea of what makes someone truly human. Colette's transformation into an angel gradually stripped her of several things that one would consider necessary to act "human." The ability to feel anything, to speak and even cry: All of these things are taken from her before she is forced to lose her heart (or more specifically, her soul) and her memories.
One could argue that those that do not have the ability to speak are just as capable of living normal lives as "normal human beings," but that, as is everything else Colette loses, are what makes someone unique. They make that person instantly recognizable to everyone around them. The sound of someone's voice identifies them to others; their personality is shaped by their memories and their feelings. These, along with other debatable aspects of the human psyche, make someone truly part of the world.
Another thing that attributes to idea of what makes a person human is the Age of Lifeless Beings, the era that Mithos wanted to create to fulfill his interpretation of his sister's final wish to end discrimination. By having everyone look and act the same with the same thoughts, memories and emotional responses, creates a sterile world of statues. He believed that this would be the only way to actually get rid of discrimination, but the characters in the game point out that even then there would be something that would separate each individual person, thereby creating an avenue for discrimination once again.
Other moral concepts also come into play with a smaller part of Lloyd's background story. Having been primarily raised by a dwarf, he was taught through the Dwarven Vows, a set of rules all dwarves live by to be upright individuals. These vows, however, are very similar to principles that any parent would teach their children. For example, some of Lloyd's most quoted vows are "Let's all work together for a peaceful world," "You can do anything if you try" and "Never abandon those in need." These are fundamental principles that members of any creed generally teach their children so they can grow up being well-rounded and with strong character. However, as presented throughout the game, these vows are obviously something that really are restricted to only the dwarven race.
As is tradition in Japanese games, the concept of teamwork is prevalent throughout, but family ties also make their way into the fold (Raine and Genis, as well as Lloyd and Kratos, have strong bonds that essentially drive the story along at some points). But that is not to say all Japanese games follow the same stigma.
