I'll be reviewing every aspect of this since it's one of my most anticipated shows (and I haven't done a comparison in a while). I'll be reviewing all aspects of the show according to my own guidelines for comparisons, which I have conveniently forgotten =/.

Expect it within two days. I'll also add more groups as they release.

Okay, here it is:

This took me a long time, and many parts may be inconsistent. I also did different episodes on different days, so there are bound to be things I let slide one day and not the next.

Disclaimer: Most of the objections I have are preferences, rather than errors without any doubt. That is why I won't judge which group "won" which section, except the TL and edit, which I'm stating with a huge grain of salt. Also, keep in mind that I let many objections slide just for brevity's sake. Furthermore, if it turns out that I'm mistaken on one of the technicalities of English, kindly point it out with backing instead of accusing me of bias or whatever. Keep in mind that I'm an engineer, not an English major. Also, I'm an immigrant and have only been living in the US for 4 years. That means I grew up learning Commonwealth English not just through communication but also through studying and memorizing the rules.

The format is done as I would do in a QC (not a full edit, which would have been more in depth) except for one thing. In these comparisons, I explain why I noted something instead of what I would change it to (most of the time).

Without further ado:

Translation:

[time] Romaji
Japanese
Uber-literal Translation
A-F & Solar's Translation
DB & L-E Translation
[Commentary]

note: A-F&Solar write ¬T's name as "Shaoran" whereas DB&L-E write "Syaoran" (the official romanization is "Syaoran," I think (because of the shot where the commercial ought to be), but I'm not sure). Also, they spell t@C differently (Fai, Fye)

note: DB&L-E has in-ep tl notes. Personally, I believe the notes are closer to the Japanese tone and connotation than the replacements A-F&Solar have.
	3:26-"(Keigo ¢hê£ is a manner of formal speech in Japanese, usually reserved for addressing superiors.)" (A-F&Solar tled as "polite speech" with no notes)
	4:27-"(Nii-sama ¢Zl£@is a term of endearment for an older brother.)" (A-F&Solar tled as "big brother" with no notes)

[2:30 (title)] hitsuzen no deai
	KRÌfAC
	An Inevitable Encounter
A-F&Solar: An Inevitable Meeting
DB&L-E: A Sudden Encounter
[A-F&Solar are correct. DB&L-E are off; I think they associated "hitsuzen" (inevitable) with "totsuzen" (sudden), which led to a mistranslation.]

[4:20] sakki kara nani wo sonna ni ki ni shite...
	³Á«©ç½ð»ñÈÉCÉµÄBBB
	What have you been worrying about since a while back?
A-F&Solar: Why are you so cautious since back there?
DB&L-E: You've been acting like something is bothering you...
[A-F&Solar use a slightly loose tl, using "cautious" for "ki ni suru," which tends to have a connotation of careful, more than worrying, in my opinion, and changing the "what" into a "why." DB&L-E have a tl that flows better edit-wise and, even though it changes the original question into a statement, has a closer tl of "ki ni suru" (bothered by).]

[4:48] shaoran, kyou no oyatsu wa kore ni shiyou yo.
	¬TA¡úÌ¨âÂÍ±êÉµæ¤æB
	Syaoran, let's make these our snack for today.
A-F&Solar: Shaoran, let's have these for our snack today!
DB&L-E: Syaoran, let's get this for today!
[DB&L-E have a slightly vague tl, in my opinion, because they don't specify that Sakura wants the apple for a snack. a nitpicky detail, though *shrug*]

[5:12] tsukamattara oshiro ni tsuremodosare chau
	Â©ÜÁ½ç¨éÉAêß³ê¿á¤BBB
	If I'm caught, I'll be taken back to the castle...
A-F&Solar: If I get caught, they'll take me back to the castle...
DB&L-E: If I'm caught, I'll have to go back to the castle.
[the A-F&Solar tl is accurate, they just changed from passive to active voice. DB&L-E are a little off; they put "I'll have to go back" instead of "I'll be taken back," which is a little more forceful, in my opinion.]
 
[6:27] kouko gakusha datta tousan wa kono kuni no iseki chousa no kyoka wo eru tame ni shiro ni demui tan da.
	lÃwÒ¾Á½³ñÍ±ÌÌâÕ²¸ÌÂð¾é½ßÉéÉoü¢½ñ¾B
	Father, who was an archaeologist, headed out to the castle in order to gain permission to investigate ruins in this country.
A-F&Solar: He was an archaeologist and came to the castle to get permission for a survey on this country's ruins.
DB&L-E: My father, the archaeologist, showed up in the castle requesting premission to excavate the ruins of this kingdom. (spelling mistake in original)
[The differences here lie in demuita ("came to" vs. "showed up in") and chousa ("survey" vs. "to excavate"). Demuku literally means "headed to" or "went to," so A-F&Solar are closer (though this might be an editing thing). Chousa is an investigation/study, so neither of the groups have tls that are quite literal (though close, I suppose?).]

[6:39] tousan wa hakkutsu sagyou no tochuu de nakunatte shimatta kedo, shiawase na jinsei datta tte saigo ni tousan waratteta.
	³ñÍ­@ìÆÌrÅS­ÈÁÄµÜÁ½¯ÇAK¹Èl¶¾Á½ÁÄÅãÉ³ñÎÁÄ½B
	Father passed away in the midst of the excavation work, but Father smiled at the end, (saying) his was a happy life.
A-F&Solar: Dad died while working on the excavation, but.../He was smiling at the end and said that he had a good, happy life.
DB&L-E: Although Father died in the middle of the excavation,/he said he lived a happy life./He left with a smile on his face.
[I know this is rather nitpicky, but it bothers me a little that A-F&Solar added "good" to "happy life," since there's no mention of that in the original.]

[7:14] sore ni, iseki no hakkutsu no shigoto de juubun kurashite ikeru shi.
	»êÉAâÕÌ­@ÌdÅ\ªéçµÄ¢¯éµB
	And I can live sufficiently (well) with (the pay from) my job excavating the ruin.
A-F&Solar: And I can pretty much live well on my own with the excavation work.
DB&L-E: And also, it's already enough for me to live as an archaeologist.
[A-F&Solar are correct on this one. DB&L-E seem to imply that just living as an archaeologist is enough to fulfill Syaoran, which is off from the more realistic (?) view Syaoran takes in the Japanese.]

[9:31] marumie nandayo, sakura.
	Û©¦Èñ¾æATNB
	You're in plain sight, Sakura. (or "I can see all of you, Sakura")
A-F&Solar: I can see you, Sakura.
DB&L-E: I can see you quite clearly, Sakura.
[Both of these are fine meaning-wise, but DB&L-E have a tl that is more correct connotation-wise, with the slightly mocking tone they create with "quite clearly."]

[9:51] shaoran hitori de kurashite oshigoto ganbattete erain damon.
	¬TêlÅéçµÄ¨dæ£ÁÄÄÌ¢ñ¾àñB
	Syaoran lives by himself and works his hardest on his job, and is great.
A-F&Solar: Shaoran's living alone on his own and doing his best with his work! He's great!
DB&L-E: He lives by himself and works hard to hold a job!/He does well!
[A-F&Solar are correct on this line. DB&L-E change the meaning slightly by putting "works hard to hold a job" instead of "works hard at his job." Also, "erai" tends to imply more of a sense of "great" or "important," rather than "doing well."]

[10:07] sakihodo, iseki no hakkutsu tai no katagata kara kochira wo azukarimashita.
	æÙÇAâÕÌ­@àÌûX©ç±¿çða©èÜµ½B
	A moment ago, I received this from the people in the excavation team of the ruins.
A-F&Solar: Just a moment ago, I received this from the ruin excavation team.
DB&L-E: I heard that the archaelogists working on the ruins are coming,/so I decided to stop by. (spelling error in original)
[A-F&Solar are correct here. DB&L-E completely change the line; I think part of it might be that they heard "kochira wo" (this) as "kochira e" (here), but I'm not very sure.]

[10:25] koko kara saki wa dounatte iru no ka hakkutsu shite minakereba wakaranai sou desu.
	±±©çæÍÇ¤ÈÁÄ¢éÌ©A­@µÄÝÈ¯êÎª©çÈ¢»¤Å·B
	Apparently, what it is like beyond here cannot be known unless it's excavated.
A-F&Solar: Apparently, they don't know what will happen from here on in until they excavate further.
DB&L-E: We don't know how far down it goes, so the archaelogists will keep excavating. (spelling error in original)
[A-F&Solar are slightly off; they put "what will happen from here on in," which, in English, seems to imply "what events will happen," as opposed to the Japanese, which is closer to "what it looks like beyond this point." DB&L-E are off too, putting "how far down it goes" when there is nothing implying a question of distance/length in the Japanese (that might be an editing problem more than a translating one, though). I think A-F&Solar are closer on this one.]

[10:41] ikemasen yo, ou. arede wa himesama ga okawaisou desu.
	¢¯Ü¹ñæA¤B êÅÍPlª¨Â¤»¤Å·B
	You mustn't, King. Like that, one feels sorry for the princess.
A-F&Solar: You shouldn't be like that, Majesty. I feel bad for the Princess when you're like that. (capitalization error (?) in original)
DB&L-E: You shouldn't be like that, Your Highness./You will make the princess very sad.
[A-F&Solar are closer on this one. They correctly tl the second sentence to mean that Yukito, or any generic person (the princess is the subject in this sentence, but when translated to English, "princess" becomes the object. Since there is no clear subject when translated to English, both "one" and "Yukito" would be acceptable here.) would feel sorry for the princess when Touya acts as he does. DB&L-E are a little off; they specify Touya as the subject and change the verb, which changes the meaning.]

[10:51] yukito, moto wa tada no osananajimi daro?
	áeAàÆÍ½¾Ìcéõ¾ëH
	Yukito, originally, we were just childhood friends, right?
A-F&Solar: Yukito, weren't we childhood friends?
DB&L-E: Yukito./We're more like childhood friends, right?
[Both groups are slightly off on this line, in my opinion, since I feel the line should imply that the two used to only be friends, even if they are now separated by social status. A-F&Solar imply the fact that they were childhood friends, so Yukito shouldn't use polite language, but leaves out the "just," which seems to me like it takes away the implication that they are different now. DB&L-E change the connotation as well by using present tense and taking out "originally" at the same time; the whole difference in social class in the present is gone.]

[11:57] kagami ni utsuru kyozou ga gotoku itsuwari no toki wo ikiru mono yo...
	¾Éféª²Æ­UèÌð¶«éàÌæBBB
	You being (as in creature/thing), who lives in a false time, like an unreal image reflected on a mirror...
A-F&Solar: You, the mirror's reflected image who takes his appearance...who lives in false time...
DB&L-E: The mirror reflects a vision of a lonely being, living in a false time.
[A-F&Solar are closer on this one. I'm not sure where "takes his appearance" came from; maybe from "gotoku" (?), which means "as" or "like" (probably an editing thing). DB&L-E are off; I think they must have heard "kyozou" as something different and translated it as "lonely being" (not "unreal image").] 

[12:05] toki wa michita
	Í¿½B
	The time has come.
A-F&Solar: The time has come.
DB&L-E: Time is the way.
[A-F&Solar are correct. DB&L-E heard "michi ta" as "michi da" (It's a road), I think, changing the meaning completely.]

[12:51] arehodo sesshou wa senu you ni to moushitsukete oita no ni
	 êÙÇE¶Í¹Êæ¤ÉÆ\µt¯Äu¢½ÌÉ
	I told him not to kill needlessly that many times, yet...
A-F&Solar: After I told him so many times to stop the needless killing...
DB&L-E: I told him to refrain from needless killing...
[A-F&Solar are accurate here. DB&L-E leave out the fact that Princess Tomoyo said time and time again beforehand to not kill needlessly by not adding something along the lines of "so many times" or "so much."]

[13:33] souda na...ashura ou wo kono te de fuuin shita ijou, mou kono kuni ni wa irare nai darou ne-. iya, kono sekai ni wa.
	»¤¾ÈBBB¢C¤ð±ÌèÅóµ½ÈãAà¤±ÌÉÍ¢çêÈ¢¾ë¤Ë[B¢âA±Ì¢EÉÍB
	Let's see...Now that I've sealed King Ashura with these hands, I probably can't stay in this country any more. No, in this world.
A-F&Solar: I wonder.../Now that I've sealed King Ashura like this...I probably can't stay in this country any longer./No...rather, in this world...
DB&L-E: That's right.../Since I've already sealed Ashura with my own hands,/I can't stay in this kingdom anymore./No./In this world...
["souda ne" is a phrase with no exact equivalent in English. It has a sense of wondering/pondering of the facts, so A-F&Solar are closer there ("That's right" seems a bit too much like agreeing, in my opinion). The other main difference between the two lies in "like this" vs. "with my own hands." For that, I think DB&L-E have a more literal translation, since the Japanese does mention "with these hands."]

[18:46] yukito, sakura wo mite kure.
	áeATNðfÄ­êB
	Yukito, examine Sakura.
A-F&Solar: Yukito, watch over Sakura.
DB&L-E: Yukito, take a look at Sakura.
[DB&L-E are correct here: Touya wants Yukito to see what's wrong with Sakura. A-F&Solar are off; they must have heard thought ©Ä (look at) instead of fÄ (examine) (they're homophones), and so put "watch over."]

[19:03] hime no senaka kara hane no you na hikari ga tobichitta to iu no desu ne.
	PÌw©çHÌæ¤ÈõªòÑUÁ½Æ¢¤ÌÅ·ËB
	You're saying that wing-like (presumably in shape) light scattered from the princess's back, right?
A-F&Solar: Feathers made of light from the Princess' back were scattered and flew off, right?
DB&L-E: So a glowing light in the shape of wings flew out of the back of the princess, right?
[A-F&Solar are correct. DB&L-E use only "flew out" and don't include "scattered," which is the important verb in the sentence (flew out makes me think more like "came out of her back" than "broke up, shattered, and scattered off")]

[19:51] hime no naka ni atta, umarete kara kyou made no omoide ga subete kieteiru no desu.
	PÌÉ Á½A¶ÜêÄ©ç¡úÜÅÌv¢oªSÄÁ¦Ä¢éÌÅ·B
	All of the memories, from when she was born up until today, that were inside of the princess, have disappeared.
A-F&Solar: All of her memories she had in her up until today are fading away.
DB&L-E: All the memories inside of her, from when she was born until today, have vanished.
[DB&L-E are correct here. A-F&Solar leave off "from when she was born" and put "fading" instead of "disappeared" or "are missing" (they might have interpreted "kiete iru" as a verb in the progressive tense, not as the state the wings are in).]

[20:10] korekara betsu no sekai ni sumu hito no tokoro ni anata tachi wo okurimasu.
	±ê©çÊÌ¢EÉZÞlÌÉ È½BðèÜ·B
	From now, I will send you two to where a (certain) person, who lives in another world, is.
A-F&Solar: I will now send you two to another world where different people live.
DB&L-E: I'm going to send you to another world where humans also dwell.
[Both groups are off a bit on this line. A-F&Solar put "another world where different people live" (I think they had "betsu" (different) apply to both "world" and "people" instead of just "world"). DB&L-E interpreted "hito" as being in the plural (probably because, for the most part, Japanese doesn't conjugate its nouns), changing the meaning from being "a certain person" to "many people."]

[20:33] soshite, hime wo sukuu tedate wo...
	»µÄAPð~¤è§ÄðBBB
	And (find) a way to save the princess...
A-F&Solar: And...find a way to save the Princess!
DB&L-E: Also, do whatever you can to save the princess!
[DB&L-E is slightly off. The Japanese line doesn't contain the verb, so it's only implied that Syaoran is to find a way. This might have led DB&L-E to put "do whatever you can"; howevever, this does differ from the implied Japanese.]

[21:06] soreyue, anata wo ikai e okuru no desu.
»êÌA È½ðÙEÖéÌÅ·B
Therefore, I am going to send you to an alien world.
A-F&Solar: And therefore, I will send you to another world.
DB&L-E: So I am sending you to a land of ghosts and goblins.
[DB&L-E's "land of ghosts and goblins" seems a bit off here. ikai is a word that means an alien world, so there could technically be ghosts and goblins; however, that is not explicitly implied by the phrase or the episode itself. A-F&Solar's interpretation seems slightly more accurate in my opinion, since the kanji for ikai mean "differing" and "world," respectively. This could technically have been the meaning implied by the creators; however, neither group has the literal/correct translation of the word.]

[21:09] tte, tannaru yakkai barai darou ga!
	ÁÄAPÈéïî¥¢¾ë¤ªI
	[Wait/Hey/What (it's a slang term, no real equivalent in english, I think)], you're simply trying to get rid of me!
A-F&Solar: You're just trying to get rid of me, aren't you?!
DB&L-E: You don't have to be that extreme!
[A-F&Solar are correct.]

[24:33] tooi sekai kara yatte kita shaoran tachi sannin wa jigen no majo to keiyaku wo kawashite tsui ni tabi wo hajimeru koto ni natta no.
	¢¢E©çâÁÄ½¬T½¿OlÍ³ÌÆ_ñððíµÄÂ¢É·ðnßéÉÈÁ½ÌB
	Shaoran and the other two, who arrived from faraway worlds, formed a contract with the Dimensional Witch and are finally to start their voyage.
A-F&Solar: Shaoran and the other two from faraway worlds.../...made a contract with the Dimension Witch and have finally begun their journey!
DB&L-E: Syaoran and the two other people from distant worlds,/have met up with the Dimensional Witch and their journey finally begins!
[Aside from a change in tense at the end of the second line, A-F&Solar are correct. DB&L-E leave out the fact that the three form a contract with the witch, taking away from the line's meaning.]

[24:55] jikai wa honoo ni dokki doki!
	ñÍÉhbLhLI
	literal tl: Next time is fire and thumpitythumps (as in heartbeats)!
	looser tl: Next time will be full of fire and excitement!
A-F&Solar: Next time will be so hot, your heart will beat faster!
DB&L-E: Brace yourself for the flame next time!
[Both groups are slightly off on this line. A-F&Solar are closer, in my opinion, including both the fact that the next episode will be hot and exciting. The only big error there is that they put that the increased heart rate would be caused by the heat, when in the Japanese they are considered to both be in the episode, independent of each other. DB&L-E include the fact that there will be flame, but they leave out the fact that your heart will beat faster when watching the next episode.]

Other Aspects Reviewed for Individual Groups

[b]A-F & Solar[/b]

Edit

Stutters were approximated by the ellipsis. E.g.: gSac Sakura.h
I take that back. Stutters are done inconsistently.
At 17:07, That stutter used the dash, as in gW-Whath.

Often uses ellipses instead of proper punctuation.
Note: usage was bordering on needlessly excessive
Fully 1/3 of the lines seemed to contain gch in some form.

Honourifics were not used.

The editing/translating style leans towards using simpler words, which is easier for some to understand but often sounds overly childish. Not to mention, it creates longer sentences which are harder to take in in the short time given.

3:20 Were you eating properly?
This would sound right by itself if the previous lines didnft use the definitive past tense. The inconsistency lies in the two lines before this one having a gdid youc ?h structure. Now, suddenly, the third lines shifts to an imperfect past construction, which is somewhat awkward. I understand that geating properlyh is a continuous event as opposed to ggetting hurth and gcatching a cold,h which are single events, but I felt that I needed to bring this line up as it hit me as I was watching.

3:26 Here, gKeigoh is translated as gPolite speechh instead of being left alone with a TL note.

3:28 I told you I donft like it when you speak politely to me.
Here, the line is waaaay too long for the time it appears on the screen. Therefs almost no way to digest that line, even at my torrid pace of reading, especially with the scenechange there. Rephrasing the line to fit within the timing is the onus of the editor.
gI told you not to talk so politelyh is, imo a better and shorter rephrasing.

3:52 But really, welcome back, Shaoran.
This is a sentence fragment for those who care.

3:54 Ifm home.
gTadaimah would normally be translated thus, but it should be changed in this case. He is, of course, in his house, and Sakura is pointing out, gWelcome home.h A more natural response would be gItfs good to be backh or gThank you.h Care needs to be taken to find the best balance between a literal translation and natural-sounding English.

4:22 Why are you so cautious since back there?
Hmmc the gback thereh is incorrect, and the tense is wrong. First of all, itfs unclear which place or time the speaker is referring to. Secondly, it also sounds awkward. Yes, gsaki karah is hard to approximate in English, but a line such as gWhy were you so cautious(doesnft work well. Check connotations.) with me?h would work much better, imo.

4:28 If I told big brother I was going out to see you, hefd get all bent out of shape and be angry.

gFamily relationship names when they precede a name or are used in place of person's name, especially in direct addressh (http://dictionary.reference.com/help/faq/language/c/capitalization.html). Basically, if a personfs name can be used in place of the personfs relationship, it needs to be capitalized. So, gbig brotherh needs to become gBig Brother.h (Note, DB & L-E correctly treated this case.)
Moreover, I donft know what gbent out of shapeh means here. It sounds like a gtoned downh approximation of another word. Meh, Ifve just never seen this being used to describe someone.

4:51 You can have it, if youfd like.

Correct me if Ifm wrong, but IIRC, the MLA has two rulings on this. First ruling: If the independent clause can function without the dependent clause, as in not bound by, the comma is not needed. If the dependent clause is restrictive, the comma should not be used. Second ruling: If the dependent clause is at the end of the sentence, do not use a comma in any circumstance.

If we go by the first ruling, the sentence in question is correct. If we go by the second, which also seems to be the most prevalent usage, the sentence in question is incorrect.

4:53 Can I?

=/ (reviewerfs note: *sigh* I finish a description, move on to the next line and bam, there is another questionable phrasing)

Sakura says gii no,h which is basically gItfs okay with you?h However, the previous line (which just happened to be the line in question at 4:51) makes it clear that Sakura can have the pear (or whatever the fruit is) if she wanted. Therefore, a better line here would be gReally?h

5:12 If I get caught, theyfll take me back to the castlec what should I do?

Just using this as an example of using an ellipsis instead of proper punctuation. The though is complete. A period should have been used. This is, however, a matter of style and personal preference.


5:40 Itfs been a long time since Ifve run that fastc

The ellipsis notwithstanding, the usage of present perfect after the since is just awkward to me. Although it is the most common usage, historically and grammatically, a simple past tense is most correct.

6:22 Itfs almost seven yearsc since you came to this country.

Hah! Wow. What a change. Here, the past tense is used instead of the present perfect. Good. However, there needs to be a gbeenh before the galmost.h Funny that it was done in the last line.

6:37 And thatfs when the two of us also met for the first time, right?

The fragment notwithstanding, galsoh and gandh being used in the same sentence is redundant. Drop one or the other or rephrase the sentence.

6:59 Donft you want to live in the castle with me, Shaoran?

I mention this line because I also have it as a note for the DB & L-E version. The negative form of a question is tolerated in this case depending on the context. 

7:31 But, the excavation was me and my dadfsc

When in doubt, drop one of the two and see if it still works. But, the excavation was mefsc Yikes! How did this one get through? Perhaps the editors deliberately wanted to make the dialogue more gfolksy.h Again, a matter of personal preference, but an error is an error.

9:11 Even if we may be childhood friendsc she is this countryfs Princessc

This line should be gEven though we arech Their status as childhood friends is present and not in doubt.

10:19 Yes, it seems that these ruins werenft something that was only above ground.

Very awkward phrasing.

10:21 Look here. Therefs a path that proceeds underground here.

Redundancy. Two here-s were used.

10:42 You shouldnft be like that, Majesty. I feel bad for the Princess when youfre like that.

Again, repetition.

11:05 He pisses me offc that runt.

A-F&Solar does the same. They follow the structure of the original Japanese even though it might yield some awkwardness.

13:46-49 I have to go. To a world without King Ashura.
Combine the two phrases. No need to separate and make a fragment.

14:28 Itfs like something hitting upon something elsec

Bah. Hitting upon? Striking would be better here.

18:41 That isc

In context, Shaoran is responding to a question of gIs my sister all right?h gThat isch is NOT a natural or fitting response. This is a case of translating literally instead of editing for context and correctness.

19:08 Itfs as I thoughtc those feathers are pieces of the Princessf soul.

Should be Princessfs. MLAfs latest ruling states that singular nouns ending with s in possessive form needs the s after the apostrophe too.

Around this time, the subtitles alternated between using Princess and princess, often without logic.

21:08 And therefore, I will send you to another world.

Drop the And.

21:14 Well then, please live well.

I donft like the word choice. gTake careh just fits so much better than glive well.h Itfs also what one normally says when parting.

Timing

Lines were joined.
However, at a scenechange, they are sometimes shifted BACK to before the character begins speaking. Sometimes, this works well. Other times, itfs distracting (e.g. 3:14)

As with DBfs version, this one had lines gcontinueh over a scenechange on many occasions. However, I found it to be used more appropriately most of the time.

All of the lines had appropriate lead out times.

Typesetting

Opening credits were translated.
Ending credits for the voice actors were translated.
IMO, the fonts clash with the series. Judge for yourself.
The splash screen group credits clash with the title.
Opening creditsf fade out was unpleasant. I assume no \1a&H01 was used, which caused it to revert to grey before disappearing.

10:10 Itfs quite annoying to have the dialogue shifted to the middle of the screen. It might have been better to put it on the top.

Karaoke

Simple \k, \K.

The same font is used in the opening song for the romaji and the translation as well as in the ending song for both.

The English font, which looks like Briem Script in dark blue with a very small border, is hard to read in many scenes. Also, the font is very flowery and script-like, which adds to the difficulty.

In the ending song, the dark brown with a small light brown border was again hard to read. This was made worse by shimmering that would occur near the subtitles when they were over someonefs coat in motion.

Encode

Shimmering is very common.

1:36 Aliased edges, line flickers, interlace artefacts, rainbows, blocky fade, and halos
2:06 Shimmering and unevenness on the spokes
2:57 Table leg shimmering
5:56 Aliasing and crawling ants on Sakurafs chin
20:10 Dark scenes are blocky, especially on the coat

[b]DB & L-E[/b] (Note, the editing explanations are shorter here because I'm just too tired and busy to do it all over again.)

Edit

Stutters were approximated by the dash. E.g.: gSa-Sakura.h

Treats all stutters.
Often likes to use c instead of proper punctuation, though not as much as A-F & Solar
Often repeats a noun without using its pronoun, which would have made the line smoother.
Approximates the tone of the speaker with swear words.
Sometimes goes overboard with this permissiveness.
Good job conveying the tone of the formal speakers @ ~ 22:27.

3:19 Did you get any fevers?
Catch instead of get.
Use the singular of fever.

4:24 Could you have escaped from the castle again?
Use gDid you escape from the castle again?h

4:34 His Majesty is just worried about his little sister.
gYouh instead of ghis little sister.h Syaoran is addressing Sakura directly.

4:50 If itfs alright with you, would you like to take it?
Alright is non-standard.

6:22 Since you first came to this country, that is.
Incomplete sentence. Join with the previous sentence.

6:33 showed up in the castle requesting premission to excavate the ruins of this kingdom.
Misspelled permission.

6:59 Wouldnft you like to come live in the castle with me, Syaoran?

There are only some situations in which one would use gwouldnfth to form a question, especially as itfs in the conditional form. Donft would be at least passable here. Rephrasing would make it better.

7:17 And also, itfs already enough for me to live as an archaeologist.
Drop the gAnd.h Personally, I would use gBesides,h instead of gAnd also,h to show his tone.

7:36 A precious dream, right?
Fragment. Reword to link with the previous lines. Itfs very doable here.

7:55 Quotations are treated as gone sentenceh gone sentenceh instead of being joined.

8:24 A-Are you alright?
Again, non-standard for those who care.

8:34 Shall I walk you back?
Overly formal.

8:35 No, Ifm fine.
As a response to Syaoranfs question, this doesnft quite hit the mark. A slight reword to gNo, itfs okayh would be much better, imo.

8:39 Um, about the thing I wanted to say to youc Ifll tell you next time.
Awkward. You donft have to preserve the full structure of the Japanese.

9:52 He lives by himself and works hard to hold a job!
Awkward. Works hard at his job, maybe? This was covered in the tl review too.

9:55 He does well! (very confusing statement)
Also covered in tl review.

9:56 Even if he does well, a kid is still a kid.
The awkward and wrong line is reused here.

9:59 Both of you, shall we stop there?
Too polite. Doesnft imply that he wants them to stop. I like what A-F had here better.

10:17 As you can see here, the ruins that are above the ground are not the only ones.
Awkward structuring.

10:35 Meaning, that kid will still, still, still, still be busy.
I donft like the choice of gstillh here. Always, though a departure from the original, works and fits here much better.

10:46 You can quit the keigo when itfs just the two of us.
gquit the keigoh? This is either very good paraphrasing or the wrong attitude for the speaker. (Samurai 7fs peasants, anyone?) My mind canft decide on it at this point.

11:05 He frustrates me, that kid.
Follows the original Japanesefs structure for some awkwardness.

11:30 The princess posesses a mysterious power.
Misspell. posesses -> possesses.

12:44 Isnft there anyone stronger out there?
In contrast to the other line with a question in the negative, I like the usage here.

13:46-49 I must leave nowc For a world without Ashura.
Combine the two phrases. No need to separate and make a fragment.

14:28 Itfs like one thing is striking against something else.
Drop the gish to make the line as lyrical as it can be without serious rewording. My mind isnft functioning.

18:10 We failed, didnft we?
The gdidnft we?h is not needed.

18:37 Youfre slow, brat.
Youfre late, brat.

19:27 And also, her heart has already flown from this world.
Drop the gAnd.h

20:33 Also, do whatever you can to save the princess.
Repetition of princess when a gherh corresponding to the previous line would have sufficed

20:46 Now, shall we gocto the Dimension Witch.
Missing a ? and the c isnft separated by a space.

21:04 (technically not an error) But there is no longer anyone in our land who is stronger than you. So I am sending you to a land of ghosts and goblins.
The first sentence is a fragment.

24:33 Syaoran and the two other people from distant worlds, have met up with the Dimension Witch and their journey finally begins!
The , is not needed.

24:45 Oh the humanity!
 This is a bit of an extreme edit/paraphrase, no?

Timing

Towards the middle of the episode, lines started to be joined more instead of being gflashsubbed.h

At around 9 minutes, the flashes occurred again, especially noticeable in arguments.

In general, around 80% of the lines are not joined when there is very little distance between then. This creates, for me, a very distracting gflashingh effect.

3:16 Flashes and quicktimes made it hard to read (especially in contrast with later styles)
5:49 Slight bleed (could be interpreted as continuation) for me
9:13 Another slight bleed/continuation
9:42 Bunches of them
20:57 Another bleed/continuation

Typesetting

Opening credits were translated.
The fonts chosen are not intrusive at all, in my opinion.

24:53 The next episodefs translated title appears too soon.

Karaoke

Simple \k, \K, and colour change.

I have some issues with colour choice in some scenes.

Fonts are generally okay.

Encode

1:36 Aliased edges, line flickers, interlace artefacts, rainbows
4:17 Ants marching (aliasing effect) on Sakurafs hair
5:27 Lots of blocks in this high motion scene
5:56 Again, aliasing on Sakurafs chin
14:35 Aliasing on Sakurafs mouth
16:50 Lines on Syaoranfs cloak are smoothed out in the dark
21:53 Shimmering on top of the background personfs cloak
22:18 More shimmering

A-F & Solar have the more accurate TL, but I prefer DB & L-E's editing.