#Arc Stitch

[dragonsanctuarybylyana]

I have been on Vacation, getting inspiration from all the art I could find. So I thought I would share some I found over the next couple Days, as well as some Sketches.

The first Photo has my new Companions made by Arc Stitch (the Hazbin Hotel Eggboy) and by Manta Ray (the possum Fidget).

The second Photo is a Tapastree I found in Ann Arbor in My Favorite Used Book store I like to visit when I am in the area, DawnTreader!

[beckysquiltingagain]

The second time I quilted Joan of Ark.

This one just got first place at the Utah State Fair

[knox-knocks]

Can’t get over the trojans expecting jean to be a big scary raven and getting a scared, sweet kid instead vs the foxes expecting a quiet and unassuming neil and getting a loud mouth mafia nepo baby (affectionate)

[toomanyteefs]

SNAPBACK MEMES PART 2!!!!!

(spoilers obviously)

Part 1

[astral-schools]

wolf, wolf, run free

[slitherin-away]

I made embroidery of my favorite duo of dorks!

[bestworstcase]

Anything from Volumes 1-3 that is setup that you don't think is given enough attention or respect for good setup?

Sidenote to this:

Open seat with no person in it + Salem having someone looking for the Choice Relic was hinting at Summer Rose. Did we have anything hinting at her pre Beacon's Fall or just things that she fits given additional context?

regarding summer specifically, while i wouldn’t call them hints per se, there are a handful of beats in v1-3 that smell like foreshadowing to me:

the first is “she was right about you; such arrogance.” – cinder might well be referring to salem here, of course. however. what strikes me about this remark is that arrogance is not a characteristic that salem seems to perceive in ozma; rather she describes him, in her soliloquies and songs, as a self-destructive, deceitful, manipulative fool blinded and trapped by his faith in the old gods. cowardly. fallen from grace. think of what she says to oz in 8.9—look how you’ve diminished, how you’ve lessened yourself—she sees him groveling at the feet of tyrannical monsters and sees debasement.

does it follow for salem to characterize ozpin to cinder as, primarily, arrogant? i’m not convinced it does. but summer rose? well… hm. consider, also, that the full line is “this whole time, right beneath our feet… she was right about you; such arrogance…” <- i think it is more likely than not that “she” is someone inside the brackets of “our,” and in context “our” is either [cinder + ozpin] or [cinder + her associates physically present at beacon].

in the event that “she” is not part of “our” the more naturalistic phrasing is “beneath our feet… salem was right about you” – because “she” otherwise has no antecedent. of course, some allowance here for this to be a narrative choice not to name salem yet, but we’re one (1) episode off from revealing her face and by this point we’ve known for a while that cinder works for someone else, so the choice to drop the name here or in the volume credits is of fairly trivial importance. unless of course cinder isn’t talking about salem.

second: “Oh! We've also stopped some bad guys, too! I guess it's like they say: "like mother, like daughter"! I still wonder why Ozpin let me into the school early…” [laugh track] – obv this part of ruby’s address to summer’s memorial headstone foreshadows ozpin’s conspiracy and team strq’s involvement therein. but it also foreshadows this exchange:

RUBY: We don’t have to kill you to stop you, and we will stop you. SALEM: Your mother said those words to me… she was wrong, too.

and i think it bears pointing out that ruby is wrong here, and later in the volume qrow specifically calls attention to this and lays out why she’s wrong. team rwby didn’t stop the bad guys; they cut off one avenue of attack and cinder circled around from a new direction that took advantage of torchwick’s imprisonment, and this also resulted in the public break between ozpin and ironwood which eroded the cohesion of the inner circle. ergo, ruby thinks she stopped the bad guys but in the long run the consequences of the breach all benefited salem.

looks into the camera like im on the office.

like mother, like daughter!!!

further, that sequence of events ultimately leads to the final confrontation between her and torchwick – wherein he declares “if you can’t beat them, join ’em,” and shortly gets eaten by a grimm right after making it clear that he intends to kill her. torchwick’s death is thematically motivated – a narrative rejection of his cynical every-man-for-himself, dog-eats-dog outlook – but consider that:

summer rose, if she is indeed salem’s willing agent, is certainly at beacon tonight – because she’d be the one who stayed behind to hold the fort.

summer is thus the one salem instructs to “reinforce our numbers at beacon,” meaning the grimm; that instruction only makes sense if the person receiving it can communicate with or command grimm. ergo, summer must have some degree of control over grimm.

ruby is disarmed and on the ground getting beaten by a man who fully intends to kill her, and a grimm swoops down out of nowhere to eliminate him faster than he can blinks. and then… the grimm rears up, roaring at her, and comes down with a sweep of its wings that creates a blast of air that pushes her away. that isn’t aggression!! that’s a defensive threat display!! (the feilong in v4 does the exact same thing – trying to push the boat away). it’s ruby who charges the gryphon, and while it lunges forward in reaction to her charge, all that happens is she gets her feet on its head and pushes off to leap over it, and the grimm goes fucking flying so hard it crashes into the ship’s interior and never emerges. the point being,

math.

it’s plausible that the grimm was drawn to torchwick’s murderous rage. but the way it behaves immediately after it swallows him – that very clear “get away from me please” body language, and ruby -apparently- kicking a grimm the size of a goddamned clydesdale dozens of feet and then through the hull of a literal warship? ruby is strong, but she’s not… that strong. but if the grimm didn’t want to engage her and propelled itself under and past her at the same time as she vaulted off its head? that would explain what happens perfectly – ruby’s kick altered its launch trajectory just enough that it crashed.

minutes later, someone loyal to salem scraped a very badly injured cinder off the top of beacon tower and left ruby alive where qrow would find her. salem’s vested interest in keeping ruby alive is VISIBLE throughout the battle for beacon, and notably include a perfect opportunity to capture her while she’s in a coma atop beacon tower that isn’t taken – suggesting that salem makes her singular attempt to capture ruby solely to reassure cinder that Something is being Done.

and if summer rose has command over grimm and was at beacon that night… the gryphon’s behavior is exactly what i’d expect if all the grimm had marching orders to insure this one girl in particular – the spitting image of their commander – doesn’t come to serious harm. there’s a nonzero chance that gryphon did in fact save ruby On Purpose!

…and that happens in the context of a fight between ruby and the bad guy she thought she stopped (but she was wrong), who joined salem because “if you can’t beat em, join em.” (salem voice) she was wrong, too…

also

<- like mother like daughter. summer had a nevermore’s eye view of the battle for beacon, in this essay i will –

third: this one is something i didn’t really Think About until v9 and specifically the v9 ost dropping, but some of the things cinder says in v2-3 strike me as like – she got that from summer im sure of it. for example, in midnight, cinder’s view of huntsmen is that they’re free, they have power, they can go anywhere and do whatever they want, and rhodes never contradicts this. where did she get “huntsmen and huntresses should conduct themselves with honor and mercy”? who taught her the aspirational moral ideal?

summer rose, maybe.

but in the deeper sense,

where did cinder get the ‘destiny’ conceit? her underlying beliefs about how the world is are a product of her childhood, but the overt framing of fate/destiny isn’t present in midnight; nor has salem ever spoken of destiny and her philosophical views are in many ways a rejection of destiny – salem does not believe in fate, she is the woman who dedicated her life to toppling the gods.

and on close examination this looks like yet another suspiciously summer rose shaped hole!! “you’re special, ruby […] special the way your mom was special […] it was said that those born with silver eyes were destined to lead the life of a warrior.” – in after the fall, ozpin gives coco an entire pep talk whose central conceit is embracing and submitting to the turns of fate – sacrifice “show them gods and deities/blind and keep the people on their knees” & guide my way “you were born to hypnotize them all/they all said their prayers/can you hear me up there?”

cinder, of pyrrha: “people assume she’s fated for victory, when she's really taking fate into her own hands. interesting. add her to the list.” & “it’s not about overpowering the enemy; it’s about taking away what power they have.”

<- that second statement is salem’s strategic doctrine, through and through. but the ‘power’ cinder is talking about here is derived through manipulating the perception of destiny; the self-fulfilling prophecy. the invincible girl cannot be touched because she makes subtle adjustments to insure that no one is able to try. it is pyrrha’s belief in destiny that destroys her, as it destroys ozma. ozpin invokes fate to justify and explain his choices. those born with silver eyes are destined to lead the lives of warriors.

summer rose was destined to live and die fighting the grimm – so the world promised her. maybe she believed, maybe she felt like she had no choice but to accept her prescribed fate. until she met salem, and took fate into her own hands. made a choice. broke the chains. it’s about taking away what power they have, like salem did when she tore the scales from summer’s eyes, like summer did when she refused her destiny and joined hands with the grimm instead.

what does summer rose look like through cinder’s eyes? she was a huntress. she was literally destined to be one of the greatest huntresses in history, a hero, the shining pillar upholding the world order that chose the enslavement of children as a fair price for peace. fate dictated that she be the icon, the idol, the embodiment of the system that brutalized and subjugated cinder – she had every privilege cinder could ever dream of, freedom and security and a home, a loving family – and she chose to walk away.

and if they talked about that like, ever, and specifically if summer talked about that warrior’s destiny as a cage, a curse she had to escape – is it any wonder that cinder would adopt that framing to make sense of what happened to her? if summer rose was fated to stand at the pinnacle, then does it not follow that cinder fall was fated to be ground into the foundations? and likewise, if summer rose can shatter her pedestal and fall from grace, then cinder fall can shatter her chains and rise. summer proves that the idea of destiny is powerful but not inviolate. and it is hollow, it is a lie, a fiction, and that means it can be taken away. revealed as a deception. destroyed.

anyway

to the broader question

i think people really, really do not give the jaundice arc enough credit for the long-term set up it’s doing.

(or the very overt textual statement from THE HISTORY PROFESSOR! placing the blame for the violent radicalization of the white fang squarely on human bigotry and persecution of faunus in general; the white fang arc is clunky and hamstrung by the inadequacy of its vocabulary, but the fandom talking point that the narrative perspective on this subject has “evolved” or “improved” is just. not true. v1 is very emphatically clear that 1. terroristic violence is not activism, 2. ascribing the terroristic violence of a few to an entire minority group to rationalize bigotry is bigoted in and of itself and completely unacceptable, and 3. violent radicalization is created through relentless discrimination and hate, which creates a self-reinforcing circle wherein the justifiable outrage of the persecuted outgroup and the extreme violent reactions provoked by the persecution are distorted into a justification for further persecution by those of the in-group who materially benefit from perpetuating this cycle!!! all of this is explained in an almost afterschool special manner by the main character faunus rights activist and the history professor!!! in volume one!!! what changed is that the writers developed the skill and vocabulary necessary to weave these ideas into their storytelling in a more effective and more cogent way!!! literally begging the rwby fandom to start listening to the actual words the characters say)

ahem. the jaundice arc lays so much of the groundwork for jaune’s and ruby’s character arcs reaching all the way to v9 and undoubtedly beyond; it sets up the first pieces of the ozlem fractal; it foreshadows the white fang arc and sets up blake’s character arc of self-reclamation and figuring out how she wants to use her voice as an activist; it draws attention to the misogynistic cultural norms that define and are defined by the history between ozma and salem; it lays the foundation for the scene in v2 where ozpin questions blake, which hits the way it does because we have the context of anti-faunus harassment occurring openly at ozpin’s school and nobody doing anything about it, and by extension is the first stroke of the salem-faunus connection that is almost certainly the keystone holding the entire narrative together because it is her relation to the faunus that provides the key to decipher the lost fable.

the jaundice arc is a crucial load-bearing pillar that supports the entire narrative and people revile it because nobody in this fandom can be fucking normal about jaune. lmao

[ladyatomic]

the boys in blue 💙

[dabicolorpanels]

Chapter 74: Smoke Signal

[ahsokaanakinrexorobi-wan]

SOMEWHERE IN THE LOWER LEVELS OF Coruscant

Ahsoka: well I don't think anakin is going to find us this time

Rex: can't he feel your force presence with the force to find you

Ahsoka: how did I forget about that

Rex: I don't know

Ahsoka: well anyway

RIGHT OUTSIDE THE JEDI TEMPLE

Anakin: where the kriff is ahsoka

Obi-Wan: I don't know anakin use the force to find her.

Anakin: why is her force presence in the lower levels and why is rex's force presence there as well

Obi-Wan: I don't know anakin but clones don't have a very strong force presence but the force is everywhere it is around us.

Anakin: yeah yeah shut up

Obi-Wan: just start walking

*Anakin and Obi-Wan start walking towards the stairs to get to the lower levels*

Anakin: why is ahsoka down on this level this level is far from the top level

Obi-Wan: I don't know but maybe I can get more deathsticks

Anakin: I thought you quit deathsticks

Obi-Wan: just go find ahsoka

Anakin: ok *walks away from Obi-Wan*

Anakin: alright the force says that ahsoka is nearby but I don't see her

*Anakin looks down an alleyway and sees ahsoka and rex making out*

Anakin: not this shit again can you two not

Ahsoka: can you go

Anakin: you two started the war in the barracks of the 501st and 212th didn't you

Rex: technically the 212th barracks are the same building as the 501st barracks and technically the battle only uses stun shots

Anakin: yeah nobody is going to get hurt

Ahsoka: exactly

Anakin: I was wondering why appo was the one who was leading the 501st in the fake war with the 212th

Rex: well it's not like I'm going to be there

At the 212th and 501st barracks

Anakin: as you can tell the 212th are losing this and fives is drunk and playing fortunate son through the coms in the helmets

Rex: so that's why fortunate son is playing in my helmet

Obi-Wan: I say we should have a lightsaber duel in the middle.

Anakin: yes

*Obi-Wan and anakin start to have a lightsaber duel*

Appo: ah the jedi generals are here

Rex: so am I

Appo: I'm assuming the music is already playing in your helmet

Rex: yep

*Echo gets shot by a stun blast and goes unconscious*

Rex: shit this is pretty much an actual war

Kix: you think

Rex: yes I do

Hardcase: this is fun

Tup: if you consider having a fake battle fun we might have to do this more often

Arc trooper stitches: I agree

OVER WITH THE 212TH

Commander Cody: this is fun

Waxer: yes it is

[sasukeless]

for every time someone compares sasuke to geto an angel loses their wings

[artist-issues]

What are the best stories you've seen that have a theme of forgiveness? If not strictly about forgiveness, then any themes along the lines of retribution, redemption arcs, or even "seeing through another's eyes" (I may or may not have rewatched Brother Bear recently lol)

Well, we’ve got all my old standbys. Cinderella, of course, is a story that really has forgiveness in it, because Cinderella wholeheartedly forgives her stepfamily for mistreating her. (Actually, she might be “forbearance,” not forgiveness.) But they’re completely off her hook. I think there’s a really great moment of forgiveness between Nick and Judy in Zootopia that gets overlooked. Frozen, with Anna and Elsa. Brother Bear is a really great example, truly! I love that movie.

I think some of my other favorites include the original A Star is Born, or even the Judy Garland remake. (Those also might be more “forbearance.”) I think one of the best examples I ever saw of forgiveness was in Avatar: the Last Airbender, which everybody knows:

And of course, ‘Til We Have Faces and The Chronicles of Narnia by C.S. Lewis have some of the best-distilled forgiveness moments in any stories, ever. There are sweet ones in The Princess and the Goblin by George MacDonald, too, though they’re not as dramatic. In Anne’s House of Dreams, by L.M. Montgomery, Anne’s repeated forgiveness of Leslie’s coldheartedness or rudeness is a really simple but awesome example of day-to-day forgiveness.

I don’t easily think of a lot of good examples of it in stories. Brother Bear definitely has it, because without it, the story doesn’t work—Sitka wouldn’t help Kenai to learn from his wrongs, Kenai would’ve been killed by Denahi, Koda would’ve been left alone—but I don’t think forgiveness is the main focus of the movie. I think it’s a load-bearing component, but not the focus.

You’re making me want to see a movie that really homes in on that!

The thing is, I guess, for forgiveness to be the focus of a movie, there has to be a character that 100% definitely does the complete wrong, inexcusable thing to another character. Something that he deserves to be on the hook for. Then he has to acknowledge that he did the wrong thing and want forgiveness. And then the other character, the one who was wronged, has to willingly acknowledge that wrong and then let the offender off the hook. It’s not just “we’ll pretend this didn’t happen.” It’s both parties acknowledging that wrong was done, and having an exchange that ends in reconciliation. It’s got grace and mercy wrapped up in it.

Not many movies have true moments like this. Usually, one character is super sorry and the other character just seems to brush off whatever they did with like, a callback to an inside joke or something. (I’m thinking if Treasure Planet, to be honest.) Or, the situation necessitates that they put their conflict aside and work together, and then after the day is saved they sort of “get over” all that and swagger off into the sunset together.

As far as “redemption” goes—gee, all the old standbys! All the ones I mentioned above, plus Star Wars, plus East of Eden (the movie, not the book) plus, of course, my all-time favorite movie, Lilo & Stitch.

In Lilo & Stitch, you have the ugly little creature who belongs absolutely nowhere, is by definition a blight on nature and an abomination of existence, who was actively created to ruin everything. And he does it, and he takes delight in it. But there’s this little girl who gets pushed down, gets her doll chewed on, gets rejected when she’s most in need of his companionship—and she just keeps on loving him anyway. Because she’s chosen to, not because he did anything to deserve it. And then that infects him. That idea of family—of someone choosing to love you, no matter how ugly you are inside and out, and by choosing to love you, they create a place where you belong. No matter what. And that changes him. A germ from outside of him changes him from a literal world-destroying, home-shattering selfish monster into something new, something adopted, something loved.

I’d call it a story about committed love and grace, not necessarily redemption—because the focus of the story isn’t really “Stitch does something wrong but then through a process of pain and transformative struggle, redeems that wrong.” That’s not the focus of the story. But it’s still “bad character becomes good.” And I can’t help but talk about Lilo & Stitch once you get me started on it, sorry!

I think the best redemption stories are some of the ones I’ve listed above, plus East of Eden, Beauty & the Beast, and really, truly Sydney Carton from Charles Dickens’ A Tale of Two Cities.

And I think Kylo Ren was well on his way to being one of the best redemption stories of all time, if TROS hadn’t fumbled the ending so clumsily—but that’s another post for another time! I don’t know if this satisfactorily answered your question, but it was fun to ramble about and I’ll tag you if I make another post as more come to mind.

[yes-asil]

Sorry but can i ask about the name of the fic you are writing of detective conan

Konvexspiegel?

Translated it's Convex Mirror, like this one!

It's used for corners in streets usually; when you look, it turns everything smaller and the image gets warped.

It fits Conan, since he is a smaller, warped copy in the AU and also the fic itself since I am writing it in a oneshot style, using the episodes I like/have ideas for, sticking to canon as much as I can.

Also used the German word, because the dialogue I refer to is from watching the dubbed version. It's funnier than it has any right to be.

[here-comes-the-moose]

What I Think Each Bad Batch Member’s Favorite Disney Movie Would Be

Hunter- The Incredibles

Wrecker- Ratatouille

Tech- Cars

Crosshair- Lilo & Stitch

Echo- Beauty & the Beast

Omega- Cinderella

[all-my-crap]

GEGG!!!!

[kaiowut99]

ARC-V Dubbed Episode 1... “Uncut”?! (Re-Edited 4K Dub/Japanese OST)

Swing Into Action/”A Trail of Light -- The Pendulum Summon″ [WIP #1 | WIP #2 | WIP #3 | Release WIP #4 (New!)]

Ladies and gentlemen! (And everyone in between, of course)

Finally time to get this edit off my project backburner, haha. After plugging away at this for more than a year--or I may have actually started this a little in 2022 at some point, but due to my SSD dying on me in October of that year, I pretty much lost everything and eventually had to restart this--my "dub-uncut" take on ARC-V episode 1's dub is all done! As when I worked on those 5D's "dub-uncut" episodes, I find that there's some potential in the 4K/KCM dubs, but overall it's hampered by the dub's music [which especially hurts for ARC-V given the awesome Japanese score by Kotaro Nakagawa], some writing/voice-direction choices, and other little oddities/cuts; like with that mini-project, the goal of this, as a successor to the dub-with-JP-OST take on episode 10's first 10-or-so minutes I worked on years back which served as the project's catalyst (now with better voice-isolating tech available), is to re-score the dub with the Japanese soundtrack, while also modifying the dialogue in spots to be closer to the Japanese dialogue (using either dialogue from other episodes or Duel Links/Cross Duel voicelines as needed) while editing it to the Japanese footage.

I'd been chipping away at this mostly for the past year, but worked a bit more on finalizing it and leveling the audio over the past few months to get it off the backburner, lol, along with revamping my subs for BelieveXBelieve and One Step (the former including a revamped edit of Sawatari's cards being hidden [as V1 of this OP with that was never released textless officially] and reprising my edit during the chorus to translate "KABA CARNIVAL" sliding in under the Hippo Tokens to "HIPPO CARNIVAL"; both also use the singable translations I worked on years back, though One Step's is shortened in spots). I also looked into commissioning a voiceover artist to provide voiceovers for the undubbed pre-OP prologues throughout ARC-V, and I'm very happy with the results provided by mattsindt over on Fiverr! ����

As for the episode itself, overall they did a good job sticking to the original dialogue, so my edits were more to bring them in line with the original dialogue in those spots where they weren't. Gong[enzaka] gets his early line modified to include the names of the Monsters he's tributing; I removed Yuzu's "what do you have to say for yourself"/"figures" pre-OP; Yuya's "boulder" crack at Gong was removed; Nico gets his "as in free" line edited slightly to fit that part over the hand motion he does that was cut; I did have to slightly recycle some of Yusho's dialogue in the flashback because it was shortened some in the dub; I kept Yuya quiet as Sledgehammer [Ishijima] reacts to seeing him in the clown getup; I grabbed some Nico lines from the Maiami Championship arc to remove the added computer voice as the Action Cards get dispersed after the eyecatch; added in a missing "Ladies and gentlemen!" for Yuya as he swings towards making his first move; Yoko's lines during the Yuya flashbacks were swapped a bit since the dub swapped the scenes; I stitched together a "I tribute Hip Hippo to Tribute-Summon" line before Yuya summons Odd-Eyes Dragon, timing his hype line for it closer to JP Yuya's line; due to the aforementioned Yusho-flashback trimming, I had to get a little creative with his lines in the pre-Pendulum scene as Yuya remembers his words; I stitched together a full line about Yuya using the Magicians to set the Pendulum Scale to remove the "I'm taking control" bit; I added his "Pendulum Summon!" shout from episode 6 and shortened his "My Monsters [are ready to] swing into action!"; during the preview, I used lines from ep. 2 [or DL] that were similar to the JP dialogue, using a recycled "How'd he do that?" from ep 1 for Yuzu where it came up; and other little things here/there. Oh, and also, I've replaced and will be replacing every mention of "Zuzu" back to "Yuzu." 💁🏽‍♂️ (Still A Choice to change her name for a reference five people would get...) I might also be doing the same with mentions of "LID" to "LDS" depending on what audio works, to be consistent with the visuals [and later "Lancer Defense Soldiers"], while still keeping "Leo Institute" as an alternate name for it. (There will likely be some scenes that'll be in Japanese with hardsubs as 4K cut them, as opposed to trimming; Sora's Synchro-explanation scene in 10 or 11 comes to mind; we'll see what audio's available to make something work. Also, if Ishijima ever comes to Duel Links, I'll revise this to add in some "My turn! Draw!" lines lol.)

And speaking of visuals, I've also applied a few visual translation edits to help enhance the "what if dubbed straighter" feel to this; I translated the destination sign on the bus early in the episode, the Yusho poster at You Show, the Fan Appreciation Day poster that Nico shows to Yuya/co--a leftover from when I planned to sub ARC-V like I do my GX subs, before Crunchyroll took the wheel, though I had to revamp it (thankfully had it posted here so it survived my drive failure) and newly do the Yuya/"Special Match" closeup--and the sign on the building behind Yuya as he's crying during his flashback. I thought of resuming my attempt to translate the billboards during the early panning shot of the downtown area, but I couldn't find good enough reference shots for some of the further away/smaller ones (saves me some madness in the end, no doubt); I'll be translating stuff as feasible in future episodes, like location references in establishing shots/etc.

Footage-wise, I also chose to work off the DVD video I've had for years (with encodes for episodes 1-4 provided by GX_ST), largely because they have touchups done to the art/animation after the episodes' airings on TV that aren't used in the Crunchyroll or Amazon TV masters that make up the 1080p downloads available. (I do think the dub itself works off the DVD masters overall, and I may see if it's feasible to try and splice that footage as needed with the 1080p downloads, since the DVD masters are unfortunately not at their total best [how do you have a show airing in HD but release 480p DVDs and not BluRays guys pls save us Discotek].) I'd love to see proper/touched-up DVD rips made of ARC-V sometime, but as it is, none are available (not even from Astral_Union or NW-Sartiend who did rips for GX/ZEXAL and 5D's).

So, as with the 5D's project, I'll be releasing these over on NeoArkCradle (where I also post my GX work), as both an .mkv with the original video and a hardsubbed .avi with the visual edits, and I'll be making a Masterpost to compile the hardsub/visually-edited streaming links. The .mkv files will be dual-audio with this and the Japanese audio, with subs for the full JP audio (sourced from Crunchyroll with edits by me, as credited at the start), Signs/Lyrics per the dub audio, and Signs/Lyrics per the JP audio (It is funny how I didn't plan to sub ARC-V given CR being on it, but in revising their subs for this, I still made more than a few edits to effectively make it my own take, so I guess I am kinda 🙃 [how is their sub timing so bad])

Aaanywho, with all that establishing info out of the way, hopefully this came out nicely! Am definitely planning to work on more episodes, so stay tuned as I get those started. The fun's just swinging into action!