FF10 takes the idea of dream as reality to a higher level, and incorporates the
idea of summoning into explorations of the dream/reality dichotomy, which I think
it would claim, is quite blurry. FF10 is also one of the only games to tackle
the generational problem of parent and child, as embodied in Jecht and Tidus.
FF10 takes the approach from say F. Scott Fitzgerald's Great Gatsby that
the main character of the story is not the leader, but rather the narrator to
an extraordinary epic, whose most important figure is Yuna, a tough-minded female
leader. Tidus remains a fun-loving sort who actually disappears at the end, as
if metaphorically after his story is complete. (In fact, throughout the game,
Tidus refers to the entire episode as his story.) The fact that Tidus is a dream
reminds us of the fact that this game is in fact just a metaphorical journey
taken by us gamers (time and time again, just as in the world of Spira), and that
once the journey is over, the game is complete. I find this an amusing way to
announce its own genre to the player, while simulaneously incorporating the idea
of the Sin, the evil that occurs over and over again until its root, found in the
final Aeon and hence summoned by us, is destroyed. FF10 then is a symbolic
cleansing of the evil that perpetually regenerates in us, and it claims that
the real tragedy is that the superficial solution that people take to general
problems can not cleanse away the true filth that is inherent in society.
Zanarkand and Bevelle's perpetual war drives the imagination of the Zanarkand
survivors, which drives the perpetual, recurrent Sin, and only the end of the
lingering dream can bring peace, not the temporary solutions of Yunalesca.
To be continued.