Compared to the rest of the series, Welcome To Punklorde stands out for having some significant differences. 

The biggest difference is the visuals. The shader's LOG convertor wasn't finished yet, producing an incomplete transfer and making normal conversion impossible. Boosting the contrast, slamming the exposure and decreasing the vibrancy produced the best result, but it gave the episode an uneven look, ex. blown out and clipped highlights, washed out mid-tones, and crushed blacks.

Although I decided on the series aspect ratio, resolution, and frame rate, Footage was recorded in full 4k and rendered in a different aspect ratio. Due to last-minute file swapping, however, the video resolution changed and caused the episode to look blurry and stretched.

Although the audio in the first half was pre-recorded, the second half (with the exception of Blade) was recorded live during filming. Scenes with improvised dialog are recorded like this, so it's not entirely unique, but this is the only time scripted scenes were recorded like this.

Even though the Youtube version is Stereo, this episode was mixed in 5.1 surround sound, the after effect of this is some sound effects and dialogue having exaggerated panning. The rest of the series is mixed in 2.1 Stereo.

The Game Begins marked the beginning of me directing the series, and having involvement in writing. 

When filming started the LOG convertor was finally finished, although It still had some differences compared to later episodes.

Halfway through, Silver Wolf uses a technique to temporarily stop time. I figured the best way to achieve this effect is to use green-screen compositing. I filmed the backgrounds first then wrote down my coordinates, camera angle, and FOV. This took quite a bit of time, but worked almost flawlessly. Green screening was also used during the hologram scene.

This was the first time I had composed original music for the series, a track named "The Game Begins", and a background track. This started a tradition of having a dedicated theme for each episode, and set the groundwork for the series' original soundtrack.

Looming Exodus was the first episode written entirely by me; Sly added his tweaks and re-wrote some dialogue.

Even though production started around November, internal issues within the team halted production, until January the next year. During recording, me and Sly were having issues with low turnout. This posed a problem with the amount of IPC guards in the episode.

To speed up the process I used a mod called BlockBuster, created by McHorse to film most of the guard scenes. I ended up recording the rest of the episode using Blockbuster, excluding the first 3 minutes, and some shots of Blade and Kafka on the rooftop. After this episode, Blockbuster became a production staple and marked the last time body actors were used.

At this point I was making the episode by myself, so I added two new people to help, Bailey Sakarya and S.T. Brooks. Sakarya's main role was assisting in general post-production. S.T. Brooks was mainly a consultant in this episode, but provided minor technical assistance.

Since production was barely chugging along, the episode wasn't complete by the release date. In under 8 hours I had to brute force through a massive amount of work, going from half to fully complete.

Scorched Earth one of the hardest episodes to produce, since Bailey Sakarya (credited as คนบาป in the credits) & S. T. Brooks were very busy during production, the amount of post work was enormous.

Along with more polish and visual improvements, this was the first episode to include CGI. In resurgence CGI usage is usually avoided in favor of in-game methods, but the episode's climax outright required it.

The episode contains three 100% CGI scenes: The overhang collapse, and both reactor explosions. The framing, animation, and lighting were all pretty trivial, it was the VFX that took the most time. The Minecraft styled effects were simple, they just used blender's default particle system. The reactor explosions were simulated in Blender, however they caused various problems. Mainly that they kept crashing during render time. I tried many different solutions, but I ending up just lowering the explosion's resolution.

Due to how complex the climax is, every shot of Firefly flying uses a 3D model or is a matte composite, Her heat aura is a 2D effect generated in Davinci Resolve.

Unlike any episode so far, Inherently Unjust Destiny was mostly a solo effort. During production, Sakarya and S.T. Brooks left, leaving me to produce the episode on my own. 

Even with the team departures, the vast array of settings, visuals, and characters, production was fast. Writing started in November, and the episode was almost complete by January, however it stalled near the end due to issues with the design team.

The backstory scene required a lot of shader wrangling to be somewhat accurate to the game. Fun fact, the rain in the backstory is CG. Since rain doesn't appear in mesa/desert biomes I had to add it in post.

Originally, the episode was going to feature more CGI; specifically for the explosion, and firefly flying out of the building. However I deemed it unnecessary, instead making a 2D explosion and recording firefly in-game.

This episode included lots of original music, marking the transition from non-copyrighted to original tracks. I composed all of the original music, expect for the music during the hunter's searching the processing plant, that was composed by Necromancer860.