1984: [Insert Wedding-Related Lyric Of Your Choice Here]

I am, as they say, getting married in the… wait, no, it's tomorrow afternoon. 3pm, to be precise.

Today was the ceremony rehearsal, which was rather more informal than I was expecting. Although I've been married before, my previous marriage was a civil ceremony in a hotel and as such was a little less dependent on tradition, ceremony and symbolism. Tomorrow's wedding — which will hopefully be my last — is a church wedding, however, which is altogether more "formal". The rehearsal, meanwhile, was pretty much just a runthrough of what is going to happen when and who needs to stand where.

We're having a pretty simple and straightforward ceremony. Neither Andie or I are particularly religious, but given Andie's family's ties to the clergy (her late father was a member of the clergy in the church we're getting married in tomorrow) it felt entirely appropriate to have a church wedding. We did, however, decide to put our respective feet down a little and not have any hymns or traditional organ music, because frankly, both of those things are far too sombre and dirge-like for our liking. Instead, we're coming in to the same music that introduced our in-game wedding in Final Fantasy XIV, our signing of the register is accompanied by two tracks from the Ar Tonelico series, and we're leaving the church accompanied by EXEC_COSMOFLIPS/. from Ar Tonelico Qoga. They're all strikingly powerful pieces of music that will hopefully leave something of an impression on those who hear them, even if they're unfamiliar with the original context.

Over the last few days, I've spent some time assembling the music playlists for the reception afterwards. In keeping with our desire to keep things simple and personal, we've opted to not have a DJ or disco, and are instead having music from my tablet pumped through a PA system. That way people who want to get up and dance can do, and those who just want to chill out, talk with people and enjoy socialising can do without some braying idiot bellowing exhortations to gyrate wildly at them. (I loathe wedding DJs, particularly those of the breed that believe everyone should be dancing at all times, otherwise they are somehow a failure.)

There's another reason for doing things this way, though; taking a DJ out of the equation means that we have control over the music, and as such the playlists I've been assembling — a slower-paced one for during the meal and a more energetic one for when everyone's finished — are made up of a… somewhat eclectic selection of tracks, to say the least, but by doing that I feel that we've managed to capture our respective personalities and histories quite nicely. There's a mix of stuff from our respective youths, some modern stuff that we like the sound of, and some stuff that will only mean something to a few people in the room — bits of the Final Fantasy XIV soundtrack, songs from Love Live!, music from the Ace Attorney series. There's also Babymetal, because Babymetal, and I think there's at least one Taylor Swift track in there, if only to placate our Taylor Swift-obsessed guildmate. (He isn't at the wedding, but he probably appreciates the thought.)

I've written my speech and have some ideas on how to ad lib in a few places so I'm not just reading off a card. The venue is pretty much set up, with only a few minor bits and bobs to take care of in the morning. I remembered to bring my suit with me, and my shoes. We have the rings with us.

I think we're ready to go!

Barring any last-minute anxious posting tomorrow morning — which is entirely possible, as I still feel rather calm right now, which I think is freaking people out a bit — the next time I speak with you all, dear readers, I will be a married man. Hooray!

1982: Below the Threshold

Slimming World tonight, and this week I lost a pleasing 3.5lb. I'm particularly pleased about this because of the impending celebrations at the weekend, which will doubtless involve eating lots of things I "shouldn't".

But I'm not going to worry about it. I'm going to enjoy the weekend to the fullest, then make sure I get back on plan once the weekend is over, and going by past experience, that should minimise the damage.

Tonight's result was pleasing for another reason, though: not only did it mark my crossing the "4 stone lost" threshold, I now find myself in a stone bracket that I can't remember the last time I was in. In other words, I'm the lightest I've been for quite some time. I still have a long way to go, but things are still going nicely in the right direction, which is very motivating.

I find myself wondering if my weight loss is going to continue, since there are some people in the group who really seem to struggle from week to week. At the moment, though, I'm not having too much difficulty keeping to the plan, and I'm seeing fairly consistent results. So in theory, if I just keep doing what I'm doing, things should continue the way they have been — at least until I eventually reach my target.

I don't know when that will be but after several years of despairing about my weight gain, I do now feel like I'll be able to reach it. It might take months or even years, but I have faith I'll get there.

1981: Preparations

Andie and I are getting married at the weekend. That's pretty close!

I'm looking forward to it a lot. It should be a great day. Both our ceremony and reception are fairly straightforward, simple and low-key (aside from the fact the ceremony is taking place in Westbury's mahoosive church) and that fits us just perfectly. Besides the obvious meaning of getting married, the day will be an opportunity for both of us to hang out with a whole bunch of people we, in some cases, haven't had as many opportunities to see recently as we both might have liked.

This week is largely about last-minute preparations, then. My best man Tim and I went to go and pick up our suits earlier today, and we both look pretty great in them. (I do need a haircut, though; that's tomorrow's job!) Getting sized for said suit was pleasant confirmation of my weight loss, too; while I'm still getting stuff from the "big and tall" (fat and lanky) section, the numbers involved are… quite a bit smaller than they used to be, which makes me extremely happy.

Other things I've been up to this week include putting together the music playlists for the reception — one for during the meal, and a more up-tempo one that people might consider dancing to once everyone has finished stuffing their faces. We're not having a DJ because wedding DJs suck; we both decided that we'd much rather have our own music playing without some braying idiot bellowing nonsense as Vengaboys blasts out from his sound system that is turned up too loud. (I know I sound like an old fart. I don't care.) Instead, we're simply having a tablet with some music on hooked up to a PA system generously loaned by my friend Rob. And that means we can have an entertainingly eclectic selection for people to (hopefully) enjoy over the course of the day — something that I feel reflects us pretty well.

Tomorrow is a day for printing things out. Orders of service, table identification card thingies and any other bits and bobs we might need. Andie's spent much of the evening writing people's names and the word "Pavlova" on table-setting cards (assuming they're having pavlova, of course — and what sort of crazy person wouldn't?) and, once I've taken care of business tomorrow, we should hopefully be pretty much ready to go. Hooray!

That's that, then. Now, having stayed up to extremely silly times in the morning for the last few days playing Heavensward (which, by the way, is magnificent, if you hadn't figured that out already) I'm off to bed at a vaguely reasonable hour.

1973: Muses

The world and their dog are talking about E3 at the moment, because everyone needs to livetweet the things that everyone else is watching. So rather than add to the noise, I'm going to talk about something completely unrelated to E3 or even video games: Love Live!

I've mentioned Love Live! a few times recently, I know, but the more I watch it the more I adore it. I'm coming up on the end of the second and final season now, and I've been very surprised how genuinely emotional it's been: the premise ("cute girls get together and form an idol group to save their school") is pure fluff, of course, but the amount of heart and soul with which the whole experience is infused with is simply magical.

The first season of Love Live! drew a little criticism from fans for taking quite so long to "get going", as it were; it's about nine episodes before the entire cast is together, and the season is only 13 episodes long, which doesn't leave a whole lot of room for the main thrust of the story: Honoka's (and, later, the rest of the group's) dream to perform at the Love Live school idol festival in front of an army of adoring fans.

I could initially see where these complaints were coming from, but now I'm coming up on the end of the second season, I completely understand why they spent so long over introducing the characters and exposition in the first season: it's so that when the main drama of the latter part of the second season comes along — the impending graduation of three of the characters, and the question of what happens to their group once they've gone — it's all the more effective because you have a deep understanding of these characters and their affection for one another by this point. Love Live! is an immensely popular anime for fans to "ship" favourite couplings in, but it's abundantly clear throughout that the affection — and, possibly, romance — between pairings like Nico x Maki, Rin x Hanayo and Eli x Nozomi was entirely intentional on the part of the writers, and the audience feels like they're a part of this intimacy that the group of nine share with one another.

It tugs at the heartstrings, for sure, and I'm not ashamed to say that a couple of the most recent episodes I've watched may have drawn a tear or two. I will also be very disappointed if the final episodes aren't total tearjerkers.

What's interesting, though, is that Love Live! doesn't elicit this kind of emotion in the same way as notorious "crying anime" such as AnoHana and Clannad: there's no tragedy, there's no real adversity besides the girls having to overcome various challenges on their quest for idolhood, there's no death, pain or suffering. There's just a wonderfully heartwarming sense of love and affection infusing the whole show, and the prospect of that ending is emotional — not because it's sad (though it is that, too, to a certain degree), but because it's a delight to have been able to ride along with these girls as they forged the sort of friendships that last for life.

I'm really intrigued to see how the series ends — and what the recently released movie has to offer if I'm able to track down a means of watching it. Suffice to say, then, that I am very much a Love Live! convert.

Oh, and if you were wondering, my provisional "best girl" ranking — provisional because the season's not over yet, and there's scope for things to change, I'm sure! — is as follows: Maki > Eli > Nozomi > Kotori > Umi > Honoka > Nico > Hanayo > Rin, with the proviso that I don't actively dislike any of them; Rin is simply my least favourite, nya. (Although bonus points to her for the "nya"-ing, a trait that always makes me go a bit weak at the knees.)

1969: μ's Music Start

I've been continuing to watch Love Live! and it's become something of a favourite, particularly now I'm in to the second season which, for my money, is considerably stronger than its entertaining but rather slow-paced debut.

A while back I wrote about how the show is unabashedly nice about everything, and keeps a positive spirit pretty much all of the time without resorting to overblown, melodramatic conflict between characters. The second season has definitely had more in the way of conflict and drama, but it's been kept sensible and believable for the most part, and primarily used as an opportunity to develop the characters and their relationships with one another further.

One thing that is particularly charming about the show is how it subtly splits the main cast of nine down into smaller subgroups and pairings. We see the development of these individual small groups and couples as well as the group as a whole, and it's rather touching to see — particularly as in many cases, things aren't made particularly explicit, but it's extremely obvious to see, for example, the genuine affection that Maki and Nico have for one another.

It's funny, too. This scene was a particular standout moment for me:

And there's plenty of other great moments. I particularly like how the characters all have a few surprising elements to go alongside the trope their "facade" appears to be based around. Nico, for example, acts like a cheerful and energetic young girl when she's on stage and performing, but becomes one hell of a tsundere when she's in private. Nozomi, meanwhile, initially appears to be softly-spoken and refined, but occasionally reveals some surprisingly lecherous tendencies towards her bandmates.

Umi's a particular highlight for me. Initially positioned as the conventional "class representative" type — long dark hair, stern expression, takes everything much too seriously — she occasionally reveals that she has a fun side underneath her mature exterior, which she primarily maintains in order to keep the rather childish and impetuous Honoka in check. Umi has some wonderfully deadpan lines, and despite the "class rep" type of character usually being fairly expressionless (or limited to one emotion — usually anger and frustration at everyone else's incompetence), Umi is actually one of the more expressive characters in the show; her calm and refined demeanour for the majority of the time makes it all the more impactful when she does genuinely get mad or sad.

In short, then, I can well and truly understand why this show is so beloved by its fans, even as it's surrounded by hundreds of other shows that may seem conceptually, thematically or aesthetically similar. Love Live! stands above your average slice-of-life with its loveable characters, catchy songs and sense that it's a show with some genuine heart and soul behind it.

I'm looking forward to watching the rest, and will be intrigued to check out the movie when it eventually arrives.

1968: Another Week, Another Pound

Weigh-in night tonight, as it is every Wednesday, and I'm pleased to report that I've shed another pound this week. This is less than I've lost in some weeks, but I'm just pleased that it's continuing to go in a downwards direction almost every week. In the however-many-weeks it is since I joined Slimming World, I think I've only had one week where I put on weight, and in that instance it was only a pound. (And an entirely justified pound, given the amount of meat I consumed during my birthday celebrations.)

I'm still feeling positive about the whole thing, and I'm glad; one of the things that put me off any sort of dieting before was the fact that I'd get so utterly bored of it by a few days in, start "treating" myself to something because it couldn't hurt, and then end up right back where I started again. Or, in some instances, the diet would prove to be detrimental to my health; I recall I experimented with Atkins on one occasion and promptly spent most of that week suffering from some of the worst headaches I've ever had in my life. I didn't try that again.

But Slimming World allows me the flexibility to enjoy food — and food I like too. I'd probably get faster weight loss if I had a few more salads and few less bacon sandwiches of a morning, but I like bacon sandwiches and salads are rubbish, so since I'm still losing weight even when I have bacon sandwiches in the morning, I think I will stick with the bacon sandwiches, thank you very much.

I think the key to the whole thing, which is what I didn't seem to work out and/or stick with on any previous occasion where I've tried dieting, is to find "acceptable" substitutes for the things I like. My biggest weakness was always sweet things — sweets, chocolate, fizzy drinks, cakes, pastries, that sort of thing. The most significant change I've made to my eating and drinking since I started Slimming World is swapping out highly calorific sweet things for things that still satisfy that craving for something sweet but which don't cause me to pile weight on.

Muller Light yoghurt, for example, is "free" on Slimming World, meaning that you can have as much of it as you like in a day. I've found a bunch of flavours that I like very much (Vanilla with chocolate sprinkles, orange with chocolate sprinkles, coconut with chocolate sprinkles, cherry and the cappuccino one they don't seem to make any more) and will now reach for one of those rather than a chocolate bar.

Of course, the "syns" system on Slimming World means that I do have the flexibility to have a biscuit or a piece of chocolate now and again, so long as I don't go completely out of control with it. I can even enjoy an Indian takeaway within my allowance — turns out my favourite curry (dansak) is the lowest-syn curry there is, so I call that a win and a half. (Other favourites Chinese and pizza, however, are pretty much out of the window, sadly, though I'm surprised how little I've missed them.)

I have set myself a "target" weight that is still a fair distance away, and depending on how long it takes to get there and how I look and feel when I get there, I may consider attempting to lose even more on top of that. But I no longer feel as I once did — that the weight I had put on was never coming off, ever — and I feel hopeful and confident that, even if it takes months or years, I'll eventually be able to get to where I want to be. Seeing one member of the group tonight picking up his award for having lost a total of six stone since he joined was inspiring; I'm already over halfway to where he is after a relatively short period of time, so I'm looking forward to what the future holds, particularly as I'm already starting to feel better about myself when I see myself in a mirror or look down at my still-flabby-but-not-quite-as-much-as-before gut.

The journey will be long, then, but I'm still very much on the right road. I'm glad I took that difficult first step.

1962: Great Title Sequences (From My Living Memory)

Re-watching Star Trek: The Next Generation and Deep Space Nine recently has made me more conscious of something that had been on my mind for a while: the fact that TV doesn't really seem to do lengthy credits sequences any more.

This isn't necessarily a bad thing, as in the case of Star Trek you're sitting there for a good few minutes watching swirly space and Patrick Stewart as Capt. Jean-Luc Picard and Avery Brooks as Commander Sisko (still in season one at the moment) and, consequently, without a credits sequence the show itself has a few more minutes to play with. But does that few minutes really make a difference? Perhaps when the show is a short 20-minute affair, but when it's 45 minutes or more there's a strong argument for saying the writers should maybe look at where a few bits can be snipped.

But anyway. Whether or not credits sequences are a good thing isn't really what I want to talk about today, since that would be a short discussion — yes, they are — but what I did want to talk about is the ones that have stuck in my head over the years. A good credits sequence is strongly iconic and does a good job of summing up what the show's all about — either literally, by introducing characters, or sometimes in a more abstract sense by using representative imagery.

These are in no particular order. Given how I'm attempting to call them up from my living memory, they'll probably in roughly chronological order, but I am making no promises. I'm simply going to provide them for your delectation, with a few words about why I like them, why they're important to me or why I simply find them memorable.

Henry's Cat

I hadn't thought about Henry's Cat for the longest time, but a brief Twitter discussion with the fine Mr Alex Connolly the other day reminded me of both its existence and its terrible but strongly iconic credits sequence.

I honestly don't remember much about Henry's Cat beyond the title sequence and the little bit of an episode I watched out of curiosity on YouTube the other day. But I do suspect it's rather a product of its time, and not the sort of thing that kids are watching on TV these days.

Count Duckula

Whoever uploaded this gets bonus points for including the "Thames" logo at the beginning. Ahem. Anyway. Count Duckula was brilliant. And I've watched a few episodes recently and it's still genuinely quite amusing thanks to some wonderful voice work and characterisation… not to mention its baffling premise of a vegetarian vampire duck voiced by David Jason.

Unlike Henry's Cat, the Count Duckula theme and intro has stuck with me all these years. However, I did not know until two minutes ago when I looked at Wikipedia (to make sure it really was David Jason who voiced Duckula) that Count Duckula was actually a Danger Mouse spinoff series. TIL, and all that.

Star Trek: The Next Generation

You can't really get more iconic that Star Trek when it comes to title sequences, and there's really not much more that needs to be said about The Next Generation — aside, perhaps, from the fact that when you look at it, it's actually rather basic. Once the credits themselves start rolling, it's little more than text and the Enterprise occasionally hurling itself at the screen.

Star Trek: Deep Space Nine

I didn't like Deep Space Nine all that much when I was younger; its relatively "static" nature of being set on a space station rather than on an exploratory starship made it feel a bit more "boring" to the young me. Revisiting it recently has made me realise (or remember?) that it's actually really rather good — and certainly a lot more consistent than The Next Generation was in its early seasons.

I like the theme very much. It's one of those pieces of music that just sounds satisfying. What I did find interesting, though, was when they changed it very subtly starting in the fourth season:

It becomes faster, I think it's in a different key, the orchestration is different and the accompaniment is less "bare". It accurately reflects the show's noticeable change in direction from the fourth season onwards, not to mention the changes in the cast: Commander Sisko becomes Captain Sisko, The Next Generation's Worf joins the crew and Shit officially Starts Getting Real with regard to interstellar conflicts.

Friends

Friends was everywhere when I was a teenager, and I didn't mind because I enjoyed it a whole lot. The credits sequence was simple and straightforward, accurately summing up each character with a selection of season-unique snippets of their most iconic moments. It was fun to try and identify which episode each of the snippets had come from… you know, if there wasn't anything better to do.

Angel

Ah, Angel. Probably one of my favourite TV shows of all time, next to its companion piece Buffy the Vampire Slayer (which is also one of my favourite TV shows of all time, but whose credits sequence I never really rated all that much). Angel's intro was great in that it reflected the dark, brooding nature of its title character, but it also allowed the show to pull off one of its best features: the unexpected and surprising fact that while it wasn't afraid to deal with some seriously dark themes, it was very happy to poke fun at itself and show the silly side of the supernatural as well as the scary. The intro helped with this in that it set the expectation for a very "serious" and dark story, then in true Whedon fashion, it often subverted these expectations with the actual content of the episode.

Yuru Yuri

(This was the best video of the intro I could find that hadn't been snagged by YouTube's copyright laws. You'll just have to deal with the Spanish subtitles.)

I love Yuru Yuri. It's such a delightfully mundane and silly anime; very little actually happens in it, but by the end you have such a wonderful understanding of these loveable characters that it doesn't matter that they haven't done anything of note. The opening titles complement it perfectly, introducing the characters visually and setting the energetic, joyful tone for the rest of the show.

Love Live!

You'd hope a show about music would have a catchy theme tune, and Love Live! doesn't disappoint. This video (which repeats several times; you're not going mad) is from the first season and, like any good opening sequence, neatly summarises the show and its characters without them actually "saying" anything (although one could argue the lyrics of the song have a certain degree of meaning). Also it's just plain catchy.

Akiba's Trip

One thing I really like about Japanese games is that they treat them the same as anime — and that means that a big deal is made out of the opening credits, with music that is often released as a single in its own right. Akiba's Trip had a particularly strong opening with a catchy theme song, a good introduction of all the characters and, again, a summary of what to expect from the next few hours of your life.

Hyperdimension Neptunia Victory

The Neptunia series has some excellent songs throughout, but the opening theme for third game Victory is one of the stronger ones. It does a great job of capturing the games' energetic, joyful spirit and acknowledges their origins as a parody of the video games industry at large through heavy use of electronic effects and synthesised sounds. It also makes a point of demonstrating the extremely strong friendship between the core cast members — they may not see eye-to-eye about everything (or anything) but they stick together and help one another out.

Omega Quintet

Last one for now, otherwise I'll be here all night and I quite want to go to bed. I wrote a few days ago about how I like the fact Omega Quintet treats its episodic story just like an anime series, complete with opening and ending credits sequences. Here's the opening sequence, which you see not just at the beginning of the game, but at the start of every chapter. It's as delightful as the game itself.

1959: High School DxD is Exactly What I Want From an Anime

For a while now I've been seeing numerous images from the anime High School DxD that were, shall we say, somewhat on the titillating side. I follow a lot of anime and Japanese gaming fans on Twitter; a number of them are fans of this show and rather fond of posting pictures of it. And with good reason: it's a very "photogenic" show. Particularly if you like pretty ladies.

Despite the numerous sexy pictures that had been shared, though, one thing was clear: the people who enjoy this show regard it with genuine affection and enthusiasm rather than treating it as the softcore pornography that so many people outside of the various otaku fanbases tend to write Japanese popular media off as. And so I was curious, for several reasons: first of all, who was the intoxicating redhead who seemed to dominate so many of the pictures; and secondly, what exactly was this show all about?

I'd been meaning to check the show out for some time but it's only in the last couple of days that I've finally started investigating it. And, what do you know? Within just three episodes, it's already abundantly clear to me that this is exactly what I want from an anime — and I already understand why those people who are fans of the show are quite so passionately invested in it.

The basic setup runs thus: Issei is a particularly obnoxious horny teenage protagonist who is obsessed with breasts, but, as is usually the case with this sort of character, finds himself unable to convince any self-respecting young ladies to show theirs to him. Everything changes for him when he meets a girl on the way home from school, though; she claims to have been watching him, and desperately wants to be together with him. The two begin dating and all appears to be going well for a while — Issei even manages to rein in his baser urges for long enough to appear almost respectable.

Then the shit well and truly hits the fan for our Issei. After a thoroughly enjoyable date, his new girlfriend kills him by stabbing him through the chest with a spear of light, and leaves him to die in the park. It transpires that she was a fallen angel, and that Issei has a mysterious power within him called "Sacred Gear" that the fallen angels very much wanted to dispose of — and for a moment it looks as if they were successful.

Given that all this happens in the first episode, though, that would make for a very short series, and as such it will probably not surprise you to hear that Issei is rescued from his plight by red-haired beauty Rias Gremory, a young woman held in high esteem by everyone at the school they both attend, and president of the school's Occult Research Club.

The Occult Research Club is a not-terribly-subtle front for the fact that Rias and the other members are actually devils, and in allowing Issei "rebirth" from his murder they turn him into one, too — specifically, a servant devil of Rias. From there, Issei gets drawn into a situation that is clearly well beyond his understanding — at least in the early stages of the series — as a three-way holy war unfolds between the forces of Heaven, the devils of Hell and the fallen angels attempting to usurp the devils from Hell to claim it as their own.

What's interesting about High School DxD is that it presents the devils — typically depicted as evil, monstrous creatures prone to the most dreadful acts of depravity in anime — as the most sympathetic, relatable of the characters. Rias and her companions are for the most part very "human" in terms of their attitude towards their situation and towards Issei, with a few exceptions; Issei, for example, is extremely surprised to wake up from his initial ordeal with a naked Rias in his bed next to him, with her seemingly completely unperturbed by the fact that they are both nude. Rias is absolutely in control of herself and clearly takes pride in her appearance — and this sort of overt sexuality is not at all uncommon in numerous mythological depictions of devils. Rias isn't a succubus or anything — I don't think, anyway; I may stand corrected after a few more episodes! — but it's clear that, for her, she has transcended such petty human concerns as being embarrassed about being in the nude, or being seen by someone with whom she doesn't have an "intimate" relationship.

By contrast, the fallen angels and the representatives of Heaven have so far been thoroughly horrible pieces of work, with an exorcist priest in the third episode even going so far as to sadistically murder someone who had attempted to make a pact with one of Rias' household of devils and then threaten to rape his own assistant, herself also a member of the clergy, all because she had met Issei earlier in the episode and believed him to be a "good person" despite being a devil.

There seems to be a pretty strong anti-religion sentiment underpinning the series — or, to be more specific, an anti-fundamentalist sentiment. The fallen angels and the forces of Heaven — with the exception of Asia, the aforementioned exorcist's assistant — have so far been pretty much psychopathic in how devoutly they follow the tenets of their faith, while the devils themselves are more philosophical and deliberate in the way they go about handling things.

There's a strong amount of chess imagery used throughout the series, too, with it being explicitly lampshaded and spelled out for the viewer in the third episode. Rias is the "king" of her little group of devils, and her companions fulfil the roles of the knight, queen and rook. (Even odds that Asia shows up again later to fulfil the "bishop" role.) Issei is dismayed but unsurprised to discover that even with his mysterious Sacred Gear power, he is no more than a lowly pawn who has yet to prove himself — but even with his low status, it's clear that Rias wants to protect him and help him grow stronger. Whether this is due to her own self-interest — his Sacred Gear would clearly be a potent weapon in the holy war — or whether she actually cares for him remains to be seen, but it's certainly an interesting setup.

And my God — no pun intended — is it ever a beautiful-looking anime. Gorgeous women doing sexy things aside — and there's plenty of that — the animation and design is spectacular, with some gobsmacking battle scenes in just the first few episodes. The more monstrous foes Rias and the gang face are truly hideous to behold, but even in its more mundane moments the show simply oozes style.

Wonderful use of colour helps give cues to the viewer as to what is going on, with each of the main factions involved in the holy war seemingly having their own colours associated with them. Most things the devils get up to seem to be bathed in red light, for example, while the fallen angels tend to bring an ominous, sinister, high-contrast purple light with deep shadows in their wake.

This beautiful visual design is perfectly complemented by a Gothic-cum-rock soundtrack — it may be a cliche by now for this sort of "good versus evil" affair (particularly if you're a Castlevania fan) but it really works wonderfully, giving the show a fantastic sense of energy and a feeling that it's had some real love, care and attention poured into it.

Yes, it's dripping in fanservice and I'm disappointed to admit that I know all too many people out there who will write this show off purely on these grounds regardless of whether or not it's actually any good. But there's a strong argument for the heavily overt sexuality of the show to very much be part of its overall aesthetic, with it being used both to reflect Issei's forever sexually frustrated teenage desires — which are still very much intact even after becoming a devil — and the common depiction of devils as something erotic, exciting, tantalising and well and truly off-limits to the "normal" people.

So why do I say it's exactly what I want from an anime? Well, it has all the things I enjoy: light-hearted slice-of-life character interactions (yes, there's time for that between all the Good Versus Evil Versus A Bit of Both shenanigans), thrilling action sequences with kick-ass soundtracks, memorable characters and a whole lot of sexiness. My dream anime, in other words.

I'm really intrigued to see where the show goes from here. After just three episodes, it's already a favourite, and I'm absolutely in it for the long run.

Rias is love, as they say.

1953: Still Picking Up Girls in a Dungeon

The anime Is it Wrong to Try to Pick Up Girls in a Dungeon?, better known as DanMachi (because Is it Wrong to Try to Pick Up Girls in a Dungeon? is a stupid title that doesn't really reflect what the show is all about) has been continuing to entertain me with each new installment, and I'm glad that so far it seems to be widely well-received for the most part.

What I've been pleased to see as the show has developed is that it's a lot more than the straightforward harem show its official English title would appear to suggest it is. Sure, there are a lot of female characters, and sure, most of them appear to want to throw themselves at wet-lettuce protagonist Bell for their own mysterious reasons, but with each new episode, we see interesting new developments in the characters — and, this week, particularly in Bell himself.

Bell ran the risk of being a relatively generic anime protagonist character, albeit one with white hair rather than the usual floppy dark brown. He was clearly designed to be somewhat relatable to the audience — socially awkward, not quite sure what to do with himself, lacking in confidence and generally a bit clumsy. But over time, his Badass Quotient has been increasing rapidly, though not in the somewhat overpowered way that Kirito became incredibly tough in Sword Art Online. Rather, as Bell grows in strength — both physical and mental — we start to see him change from a naive boy into a determined young man as he starts to come to terms with his own personal adventure.

The highlight of this week's episode was an unusually violent fight scene between Bell and a minotaur. A minotaur overpowered Bell in the first episode, brought him into contact with the mysterious blonde-haired beauty Aiz Wallenstein and filled him with shame and regret for what he perceived as his own incompetence (rather than simply not being ready for a challenge considerably too tough for him). His battle against the minotaur in this episode showed how far he had come, and indeed during the fight scene, as he strikes back at his foe, determined to knock him down using everything he's learned from his experiences and his time training with Aiz, he's barely recognisable. Covered in blood and obviously using every last ounce of both his physical and mental strength to battle his opponent, Bell clearly reaches a turning point in this episode — and, judging by some of the other things that happened, it was an important moment for the overall narrative, too. Most intriguing!

I'm very much looking forward to seeing what happens next. The show has wisely not focused too heavily on the relationship between Bell and Hestia, despite Hestia clearly being the "poster girl" for the series. Instead, it's very much Bell's story of personal growth and his quest to redeem himself against his own lofty — some might argue too lofty — expectations. And along the way, he comes into contact with a lot of interesting and memorable characters, several of whom, I feel, will have important roles to play in how everything eventually turns out.

So I'm well and truly "in" on DanMachi until the end, then. Hopefully it keeps up the quality of this week's episode, and hopefully we'll see more in the future when this series is over, too.

1949: My Continuing Mission

As I tick ever-closer to 2,000 daily posts (this blog crossed the 2,000 posts in total mark a few days ago, incidentally) I find myself once again contemplating the meaning of this little exercise and how it has changed over the last few years.

Initially, as those who have been following since the beginning will know, it was a community effort. The #oneaday hashtag on Twitter brought together a small group of people of varying levels of commitment who decided to try and post something every day without worrying too much about "quality" — instead, simply helping to flex the creative muscles a bit by getting in the habit of writing every day, even if it was complete tosh or stream-of-consciousness nonsense.

As more and more people dropped out — the person I originally saw the hashtag via dropped out after less than a month, as I recall — it became a matter of pride for those of us still going to make it to the full year. Some of us decided to continue beyond that point, others didn't. I helped to get together a group of people who were interested in participating to form the One A Day Project, a somewhat more organised collective of bloggers with slightly relaxed "rules": participants didn't necessarily have to commit to daily posts — though many did — they simply had to commit to posting regularly, and at least attempt to make it through the whole year. (Professional floppy-haired twat Matt Lees took great umbrage to this clause and posted a lengthy rant expressing his disapproval about how it diluted the original meaning of #oneaday, but then he didn't stick it out for very long in its first year, so he wasn't really in a position to complain. Said rant has, however, seemingly been deleted since. What a pity.) There was also a charitable component; we invited people to sponsor us to motivate our efforts. We made a bit of money — not a huge amount, but some, at least — so we did some good in the process.

This particular year was quite interesting, as it exposed me to a wide range of people, many of whom I probably wouldn't have come across otherwise. Some I've stayed in touch with, others I haven't, but I was happy to have encountered them, even if it was only briefly, and interested to read their perspectives on their life, loves and passions, which ranged from arts and crafts to amateur radio via archery. (And some other things that didn't begin with "A".) It was an interesting and enjoyable experiment, all told, but it was a surprising amount of work that I'm somewhat inclined to believe was a little more trouble than it was worth — particularly as other people were somewhat reluctant to step forward and help me with some of the responsibilities and expectations I'd set in the beginning. I didn't mind, though; it just might have been able to go on a little longer and be a little more successful, high profile and beneficial to the charities if there were a few more people willing to work behind the scenes. But oh well.

After that petered out, I continued to write on here every day. Why? Difficult to say; I think it's largely just become habit now, more than anything. Plus, I've always found it helpful and cathartic; in the early days, this proved particularly helpful as I was going through my separation from my first wife, one of the most traumatic experiences I have ever suffered though. Much like writing a diary allows you to empty your head of wayward thoughts and express things you might not have anyone to talk to about, so too has this blog performed that function for me.

The only difference, of course, is the fact that this blog is public and therefore open for people to look at and comment upon. Sometimes, when I have written on controversial topics that I have strong feelings about, this has attracted the ire of people who want to lay into me for my opinions — though this has only really happened on a couple of occasions, and I've only ever had to close comments on a post completely once. It's easy to focus on this negative side of publishing your thoughts online, though; it's much more beneficial to focus on the more important, positive and almost infinitely more frequent occurrence of people coming along, finding my blog, discovering a like-minded individual and striking up a conversation or even a friendship over something I've written.

None of that is my priority, I have to say; the original point of #oneaday was not to write "for" anyone but yourself, and I've continued with that credo since day one. This blog has always been and always will be a completely honest, open and (mostly) unashamed look at the real person I am inside; the person who may not always be entirely comfortable expressing himself in person, but the person who is there nonetheless. Ultimately you, the reader, can take or leave me based on that, but it's the person I truly am.

As the number at the top of these posts advances towards 2,000 — a significant milestone by anyone's calculations — I find myself contemplating what the future holds, too. Will I continue after 2,000? Highly likely. Will this blog still continue to look the way it does today? Probably not; I revamped the "look" at post 1,000 and will probably do so again at 2,000. Will I continue to post occasionally coherent ramblings about everything from video games to music to pretty anime girls to board games to how people should really stop being such shitheads to one another? Almost definitely.

It's been a long and sometimes difficult ride. And I don't think I'm ready to get off any time soon.