Question for anyone who's had top surgery, or any emotionally similar kind of surgery, not necessarily gender-affirming surgery.
Did you film your reactions afterwards, waking up, taking off the dressings, first time putting on a regular shirt kind of thing?
Im sort of in two minds, because its always good to see people feeling joyful in their bodies. Feeling right, the relief. On the other hand, its always so intensely emotional that it feels like it should be private. And what about if its not emotional, if you're just exhausted or you dont have a very obvious external reaction or you're not sure - or are sure - that you dont like it actually. Has anyone made recordings and not shared them, just kept them for yourself?
What about taking before/after pictures to share with other (+-trans) people, other people looking into the same surgeon, that kind of thing?
And whatever you did or didnt do, how do you feel about it now? Would you go back and do things differently if you could? Including if you'd rather you didnt get the surgery done at all, Im open to a variety of perspectives. As long as you're not transphobic about it, which I dont expect but feel I should probably say to cover my bases.
For context and transparency I'm just a person trying to figure out how I feel about it for myself, what I might want or not want to do. Personal reasons. Im not a journalist and I promise Im not writing some article I want juicy quotes for. (And if it seems weird that I would clarify that, I've heard stories of people asking to interview trans people as though sympathetic, and then twisting everything in publishing to demonize us. Its a farce of journalistic integrity and I wouldn't blame anyone for being suspicious of questions like this.)
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Okay I can’t say this enough but Sorey as the protagonist really embodies the themes and messages of Zestiria so well that it feels like you can’t truly like Zestiria if you don’t like him. He’s the narrative itself, he might as well be called “Tales of Zestiria” the character.
As an anniversary title, Zestiria puts emphasis on inheriting from your legacy and how to evolve and build on top of that legacy respectfully. From this you can see why the developers would draw inspirations from actual history, and since it’s the Japanese history they’re intimately familiar of, they went with it.
Japanese history has always been highly influenced with spirituality, that’s a fact that Zestiria also tries to bring up. We’ve come so far in these modern times, but that’s also thanks to the many eons of traditions that we’ve exactly come a long way. Think about it, the time we get to live is so short compared to how long the world has lived and will live (yet the world is also still young, it still continues to evolve), recorded in history or not. We’re all connected from the past to the future. If we forget about it and don’t show the gratitude, who will?
I’ve talked about “born Shinto, die Buddhist” but that’s how uniquely pluralistic the Japanese society is. It’s not even moving from one to the other, because both are still practiced, even though people in the modern times often think they don’t have time for things like these anymore.
On one hand, Shinto is really all about how sacred this world is, and that includes your life, so please cherish yourself as well. It is exactly because Sorey, as a mere human who really is not all that special in the larger scheme of things (yet he’s still part of this world, the only one he has), has pure appreciation for the world around him, excitement and curiosity for the mysteries yet to unfold, and the eagerness to pass this feeling onto others that he’s in tune with himself and conscious of the way of the 神. Living in harmony. On the other hand, death is an inevitability of human condition, and Sorey, as the 導師 (a word that also specifically means Buddhist monk for funerals in Japan, as mentioned before), has come to regard death as a way of salvation. Death is often seen as something so sad, so unfortunate, but he has learned that perhaps it can be a release for some. Life is beautiful, life is sacred, but life is also suffering. That is just being human.
This ties in nicely with what he wants to do and what he needs to do. There is passion in both. The things he wants to do, it’s because he knows life has so much more to offer out there, and he has plenty of time and energy for all that! The things he needs to do, it’s because he took upon that responsibility himself, and with that he has to accept viewpoints and approaches he might have had a hard time agreeing with before, but thanks to those his horizons widened and again, death is an inevitability, it must happen. However, both of these don’t exist in vacuum, they’re both interlinked. Both of these are what make a human, human. The more you respect life, the more you respect death. The more you respect death, the more you respect life. A balance is needed here, and in the end, he doesn’t tip the scale too far in one direction, yet he doesn’t lose a sense of himself.
Then you have both Shinto and Buddhism teach you on how to conduct your own self, in relationship to your life, mostly. But you’re not alone, there are others, and they’re different, that should be celebrated! Precisely because there are others that you can shine more in your own way. Each of us has a role to fulfill, and that’s fine, let’s just all work together towards a better future for our successors. In both Shinto and Buddhism, the human is originally pure, yet life makes them be afflicted with either kegare or kleshas. There’s no way around this, that’s just another fact of life as a human, and Sorey accepts this, accepts that malevolence will always be there as long as humans exist, but they don’t and won’t get to define humans, ever. Humans are so much more than the malevolence; humans and malevolence might be inseparable, but they’re barely one and the same. Despite everything, everyone deserves their own chances to come to their own answers.
I don’t know I’m just thinking out loud how much I love Sorey as a character (and subsequently Zestiria as a whole). I’ve been saying this since 2015 but in my eyes he’s one of the most well-executed characters Tales has and I will die on this hill. Not saying it is without its hiccups, but Zestiria is really a thematic masterpiece to me. Everything fits together nicely like puzzle pieces; it starts with this one idea, expands, and then converges again to that one idea.
Just look at him. I love him so much I could combust. The legend that has become “hope” to me.
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Something I've noticed about Jack at Home Base in my most recent playthrough is that he almost always seems to be watching the Protagonist. I say this because every time I've passed by him, his idle animation has him turn to look. And maybe I'm reading too much into it, maybe I'm overthinking it, but it almost seems like he has to keep an eye on the Protagonist.
Where Jack stands by the objective board, he has a clear view of the steps. Here, his observation is more limited; he has Louis standing to his right, and the board directly in front of him. If he leans over too much, Louis will notice, possibly even blow his cover. The best way to monitor the Successor from his position is through furtive glances. Where Jack stands gives the illusion of preoccupation.
Right by Davis, Jack has a perfect view of the mistle. He can easily keep an eye out for the Successor of the Blood, and keep watching them if they approach the punching bag. He also can keep them in his peripheral vision if they're at Murasame's counter.
In front of Louis's desk, Jack can monitor the Protagonist from his peripheral vision. The pretense of business masks him well here, and they likely will not pay him any mind. It is a stealthier approach compared to his other positions.
His position by the curtain in the sanctuary especially permits a wide angle of view. Almost anywhere the Protagonist walks or runs, Jack can see them. From a defensive standpoint, his back is protected; with him watching the doors, any invaders -- Lost or otherwise -- will be spotted quickly. To keep a close eye on the door ensures protection for the Protagonist, as well. This way, they won't be taken from him again. He can proactively stop a threat far quicker than he was able to before, back in Operation Queenslayer. He won't lose them a second time if he can help it.
Even when he's seated at the farthest end of Home Base, he has direct line of sight. It isn't that he looks ahead; rather, his attention is focused more towards Io's post. He seems to closely observe when the Protagonist handles vestiges with their attendant. Fixes them, returning memories to those who desperately needed answers to long-forgotten questions.
Some part of me wonders if Jack wrestles with himself in that very spot. By way of what he thought was a mercy killing, Jack helped to bring that ability forth, perhaps indirectly. Yet at the same time, he placed the terrible burden of being a Successor upon them. Does the Protagonist fear an eventual transformation just as much as he does? Is this how he'll lose them again? Perhaps this is the reason why Jack's gaze is more intense here than in the other positions. His own tumultuous thoughts play upon his face, casting a gravity that does not show itself often outside of battle.
Another part of me wonders if he's monitoring the Protagonist's relic status. This is especially something to consider if the Protagonist is aiming for a Bad Ending run. With multiple Relics housed within their body, the risk of frenzy heightens. The game never quite goes into detail about how the color or shape changes, aura-wise, when Jack is observing the status of a Successor. If it fluctuates, shrinks, pulses, or even glows brighter. On a Bad Ending run, however, the Protagonist's aura must be horrific. Jack would have no other choice but to kill them again. His mental health may never recover, but when he has no choice but to bear another relic and sleep within the confines of a Crypt, he will not be awake to know much else. Perhaps in his fitful, tormented nightmares, he will once again dream of the Protagonist he could not save. A Bad Ending run destroys Jack far more than most may consider.
I also wonder if perhaps Jack keeps an eye on the Protagonist for fear of losing them again. What happens if they don't return to Home Base in one piece? They're not always going to have him accompanying them. Any activity around the mistle will draw his attention. We know that Jack is extremely attached to the Protagonist. (I suspect he has a habit of getting attached to his others partners in differing degrees, but that's a text dump for another time.) Valerio's vestiges show a man haunted and broken by the Protagonist's mercy killing. The Protagonist is someone he places in a high -- perhaps the highest -- esteem.
Two of his lines when the Protagonist returns to the mistle speak volumes about his feelings.
"You're up already? Well, good."
"Hmph. Don't make me so anxious like that..."
I cite that first line because of its vocal inflection. His voice lifts up in an earnest, almost boyish manner. It's positively adorable! He's overjoyed that the Protagonist is back -- that they're alive -- and now he can return to exploring alongside them. The fondness he carries bleeds into his voice, perhaps without him even being aware of it. It's a line that makes me smile even on unsuccessful boss runs.
The next one offers a glimpse into his underlying fears. Jack is constantly worried about losing the Protagonist again. The game glosses over how long a revenant's reformation really takes. Where gameplay is concerned, of course it's going to be instantaneous! But since it took the Protagonist quite a long time to reform following Operation Queenslayer (at least eight years or more), they may be prone to longer reformation times. Jack must pace around the mistle, dragging his fingers through his hair, constantly checking the perimeter for any trace of particle movement. The stress of waiting must tug at his insides, rot him from within. This line shows a great deal of vulnerability, baring more of himself than most seem to realize.
His constant observation of the Protagonist at Home Base serves to reassure him. They're alive, they're back, and they haven't been turned to ash. They haven't frenzied and transformed into a ravenous monstrosity. He won't have to put them down; Jack won't lose them again if he can help it. This peace of mind is one he hasn't allowed for himself in a long time. Even still, he cannot completely let his guard down. To do so would be fatal, and the Gaol of the Mists is unforgiving of even the slightest errors.
A Normal Ending run does not show how he feels about the Protagonist assuming control of Silva's relic, but Jack may be far more unhappy about it than he lets on. The status quo is maintained in the manner Silva intended, but at the cost of any valuable change. The imperfect system will never improve. And on top of it all, Jack loses the irreplaceable company of the Protagonist. He can visit them at any time, but he can't converse with them. They'll never again smile at him, swap stories with him, or dance by him when the jukebox plays. What is left? An absence? I can't see him being pleased about such a loss long-term. In the end, all the Normal Ending offers is a different facet of loss.
During the Good/Golden Ending... he still loses the Protagonist. Though they're alive -- happier, perhaps, in some aspects -- but they're going. Drifting, even, far beyond the limited tides the Gaol of the Mists offers. He may not ever see them again. Does it truly please him, even then? Perhaps during the (infuriatingly) vague timeskip, Jack finally takes the time to have a heart-to-heart discussion with the Protagonist. Maybe they both clear the air and settle their unresolved troubles, maybe it's something a little more than that. I can't picture Jack being completely content about the Protagonist's departure... treading out into the unknown where he can no longer look out for them.
There is much more to Jack than the game will touch upon... but the nuances are certainly there.
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