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AKA The Bastard. First appeared in issue #27 (and previously, in a flashback sequence in issue #10). After Atlantic City he was deactivated, and assumed the life of a hard-boiled and heavy drinking private detective in Los Angeles, reminiscent of the antihero character types popular in "pulp" stories and the classic Film Noir genre. His face appears fully wrapped in bandages for much of his part in the series, the result of a supposed recent car accident that left him badly disfigured.
Milo was hired on a case involving a painting (La Morte dil Cesare) owned by Megan Dietrich that was targeted by Lono and Echo Memoria for purposes unknown. Neither Lono nor Megan recognized Milo, due some combination of the bandages that obscured his face, the long time since seeing one another and/or his frequent usage of assumed names and casual misdirection (a habit he presumably acquired in his new profession as an investigator). In the process of pursuing the case, Milo uncovers several clues associated with the series' greater conspiracy before eventually being awakened to his true nature as Minuteman and regaining his memories. However, having previously been quite open in his personal dislike and distrust of Graves, Milo was unwilling to return to the world of the Minutemen, preferring his new life and all that it involved to the prospect of returning to the group. To that end, Milo engineered his own demise being beaten to death by Lono's hand, the full story of Graves' intended role for him only becoming clear to Milo in his dying seconds.
Milo was reputed to be perhaps the most ruthlessly "wicked" of the Minutemen, earning him the code name "The Bastard". Because of his personality he got on well with Lono; when Shepard reveals to Lono that the man he killed was Milo (whom he didn't recognize due to the bandages on his face), Lono shows sincere regret.
Milo was reactivated in issue #34 after seeing the painting "La Morte dil Cesare" (and its depiction of the word "Croatoa" above a doorway) in Megan Dietrich's house.