Beichuuka

You're much better off just getting someone who knows what they're doing translating it in the first place. Translation checking is a luxury some localization projects have, but at least in fan translations, it's largely there to compensate for the fact that most of the people working in fan translations just aren't very good translators. 99% of the time, if they were passable at translating, they'd get out of fan translation and translate for a living.
If the translation is best described as garble, no editor can save it short of going to check every translated line and effectively redoing the work. I think what you're saying here is predicated on a mistaken assumption people often make when talking about localization: that there's some sort pidgin language between Japanese and English (let's call it Fantranslationese). Bizarrely, some people not only believe in the existence of Fantranslationese, but they have even convinced themselves that they prefer to read Fantranslationese over English. But make no mistake: Fantranslationese is not a language, and it does not communicate anything like what the original Japanese did and what a decent English translation would. Fantranslationese is a pale shadow of a language, and an editor can only do so much to fix a "translation" attempting to use it short of retranslating the work because the editor otherwise doesn't actually get an experience like reading the original. Relying on editors to inject flair into a Fantranslationese script means you lost all the flair that was in the original. You're certainly not there yet, but you're well on your way to writing fanfiction instead of a translation, if you go this route.
Editors should be polishing a translation, smoothing out rough edges and ensuring consistency. They absolutely should be fixing the translator's mistakes, always with the aid of the translator, because the editor sees the work differently and therefore is going to rarely find translation mistakes due to their different view. This is a given especially because of how ambiguous and context-dependent Japanese is.
I never want to work on any project with a translator who believes this.

@Decay
I've actually heard the statement that the VN industry not hiring TLC is due to them having to be cheap due to the niche nature of the market, so I'm not sure if that goes for all industries. I've seen "revision" of translations thrown around as the actual professional term on some translators' blog(s). I do think that it's a sane policy to try not to need it in the first place, though.
With that said, though it seems this made the rounds with professionals (thanks verde ilu), I'm probably more interested in the fan translation case (I mean, it's what I do... a few hours every year...). I've worked with TLCs on several projects simply because I'm not that good, and certainly wasn't that good, when I was translating back then. That said, I used them for their superior Japanese comprehension (including help on lines left blank due to not understanding them!), not for their writing skills.
Clephas' conception of the editor-TLC is certainly a way to turn out a passable product if the stars align in proper order, but it always gives me this niggling feeling that either the TLC is doing too little and letting bad lines slip by or should simply dispense with the first translator since they're just re-translating all the lines anyway. It's also hard to get someone both motivated and competent, and the best have a tendency to leave bad translators in disgust. Some projects I know seemed to spend their entire lifespan looking for TLC and not really finding it, eventually finishing tl, and just going without it in the end.
Going back to fan translation: fan translators are generally not paid, and in some sense this actually gives them an opportunity to create the best quality product. Professional translators generally lose profit by translating slower, and pay is not in high supply for VN translations much of the time. As such there is always a tension between quality and quantity that a fan translator does not necessarily feel. I can understand how professional translators might be forced to cut corners to make ends meet, get destroyed by ridiculous deadlines, and make contextual errors due to not having the time or ability to compare with the original. I can also see why it would make sense to hire much-cheaper editors and have your translators do light, quick work from a business perspective. But none of this has to apply to fan translation. It will make you slower, sure. But it will make you better.
In the end, maybe I should be questioning why exactly I hold my ideals anyway. A lot of the reason I try to work with the philosophy I do is that translating stiffly is just not fun for me. What delights me is writing, coming up with clever ways to convey ideas in different languages. It's hard for me to even understand the people that turn out real stinkers. If I had to push out stuff like that for 30,000 lines I'd feel like killing myself on a regular basis.

It is less humorous, has more H, and is more emotional than Otomimi.

Of course Kimi ga Itsetsu is much better known as 2011 title. And 1999 version and 2011 are actually very different in that 1999 involves a lot of map movement and has different characters and routes structure while 2011 one is kind of brushed to the contemporary standards. There's a nice article on the changes. But I just follow VNDB whether it has versions smashed together like this one or separated like YU-NO or Ruriiro no Yuki or Ryouki no Ori, so I won't be returning to Kimi ga Itsetsu.

Not reading stuff before 2010 seems a bit extreme. I feel like stuff since the turn of the century are similar enough that most people would be ok with them.
Stuff from before 2000, however, I myself have a hard time finding the desire to try. To Heart is probably the only pre-2000 game I've played.