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->You know, I sometimes get asked why ''Film/{{Camelot}}'' of all films is my favorite movie. And the reason is because it actually changed my life, or at least focused my beliefs into something that was a good solid foundation for a personal philosophy. [[ComesGreatResponsibility Those who have power should use it to do good]], that violence is not strength, compassion is not weakness, [[CycleOfRevenge that revenge is utterly pointless]]. Superheroes are basically the equivalent of modern day [[KnightErrant knights errant]], they go out and help people and fight injustices. But a lot of the best superhero comics are the ones not actually about superheroes hitting supervillains or [[LetsYouAndHimFight each other]], anything like that. It's the ones that show that superheroes are about kindness and decency and something far more noble than the adolescent power fantasies that people often critique them as. I think I hate this comic more than any other I've ever reviewed, because it is the complete antithesis of everything I believe in. ''Holy Terror'' says that you should be unkind, it says you shouldn't trust people, it says [[NoGoodDeedGoesUnpunished compassion will be repaid with violence]], and [[ViciousCycle that violence can only be answered with more violence]], and that [[MightMakesRight violence is strength]]. That hurting others is not only enjoyable and desirable, but that it should be employed first when dealing with threats. It says that if you have power, [[SmugSuper you should lord that power over others and do harm to them]]. It says that revenge ''is'' a worthy cause. It treats women as either [[DamselInDistress victims]] or enemies, and don't assume Natalie Stack is immune to this criticism, trust me, the book ain't over yet. It tells us we should fear [[AbsoluteXenophobe the other, the foreigner, the dark-skinned, the religion that's not your own]]. And you know what the damndest thing of all is? I am honest to God afraid of terrorism. Terrorism is real. There are people out there who want to kill me either because I'm from a different country or just because they're some angry misanthrope with a gun. That applies to both foreign and domestic terrorists. Terrorism is about making someone so afraid that they'll do what you tell them to. And the [[AnAesop grand message]] of Frank Miller's ''Holy Terror'' is: Be afraid. Be terrified. And let's give in to that fear. And embrace every [[HumansAreBastards dark, sick and inhuman part of our souls]] as a result, and [[HeWhoFightsMonsters do everything to them that they will do to us]]. Frank... you must be so proud.
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->You know, I sometimes get asked why ''Film/{{Camelot}}'' of all films is my favorite movie. And the reason is because it actually changed my life, or at least focused my beliefs into something that was a good solid foundation for a personal philosophy. [[ComesGreatResponsibility Those who have power should use it to do good]], that violence is not strength, compassion is not weakness, [[CycleOfRevenge that revenge is utterly pointless]]. Superheroes are basically the equivalent of modern day [[KnightErrant knights errant]], they go out and help people and fight injustices. But a lot of the best superhero comics are the ones not actually about superheroes hitting supervillains or [[LetsYouAndHimFight each other]], anything like that. It's the ones that show that superheroes are about kindness and decency and something far more noble than the adolescent power fantasies that people often critique them as. I think I hate this comic more than any other I've ever reviewed, because it is the complete antithesis of everything I believe in. ''Holy Terror'' says that you should be unkind, it says you shouldn't trust people, it says [[NoGoodDeedGoesUnpunished compassion will be repaid with violence]], and [[ViciousCycle that violence can only be answered with more violence]], and that [[MightMakesRight violence is strength]]. That hurting others is not only enjoyable and desirable, but that it should be employed first when dealing with threats. It says that if you have power, [[SmugSuper you should lord that power over others and do harm to them]]. It says that revenge ''is'' a worthy cause. It treats women as either [[DamselInDistress victims]] or enemies, and don't assume Natalie Stack is immune to this criticism, trust me, the book ain't over yet. It tells us we should fear [[AbsoluteXenophobe the other, the foreigner, the dark-skinned, the religion that's not your own]]. And you know what the damndest thing of all is? I am honest to God afraid of terrorism. Terrorism is real. There are people out there who want to kill me either because I'm from a different country or just because they're some angry misanthrope with a gun. That applies to both foreign and domestic terrorists. Terrorism is about making someone so afraid that they'll do what you tell them to. And the [[AnAesop grand message]] message of Frank Miller's ''Holy Terror'' is: Be afraid. Be terrified. And let's give in to that fear. And embrace every [[HumansAreBastards dark, sick and inhuman part of our souls]] as a result, and [[HeWhoFightsMonsters do everything to them that they will do to us]]. Frank... you must be so proud.
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->We see the triumphs of the villains and want our heroes to rise up that much more... but can't just yet. And I think that's one of the big factors of its success, the thing I keep speaking about when it comes to why I love superhero comics: It leaves us wanting more. It leaves us wanting the next chapter, to see our heroes finally get that victory they so rightly deserve.
->Having a dark story is one thing, but it's not about wallowing in misery; it's about getting back up and resolving the darkness in some way that leaves the audience satisfied. It does what it promised it would do: push our heroes to the breaking point, as the Empire proves how strong they are even without a Death Star. And yet, our heroes make it through. They haven't won through yet, but we know they will.
->Having a dark story is one thing, but it's not about wallowing in misery; it's about getting back up and resolving the darkness in some way that leaves the audience satisfied. It does what it promised it would do: push our heroes to the breaking point, as the Empire proves how strong they are even without a Death Star. And yet, our heroes make it through. They haven't won through yet, but we know they will.
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->We see the triumphs of the villains and want our heroes to rise up that much more... but can't just yet. And I think that's one of the big factors of its success, the thing I keep speaking about when it comes to why I love superhero comics: It leaves us wanting more. It leaves us wanting ''wanting'' the next chapter, to see our heroes finally get ''get'' that victory they so rightly deserve.
->Having a dark story is one thing, but it's not about wallowing in misery; it's about getting back up andresolving ''resolving'' the darkness in some way that leaves the audience satisfied. It does what it promised it would do: push our heroes to the their breaking point, as the Empire proves how strong they are even without a Death Star. And yet, our heroes make it through. They through; they haven't won through yet, but we know they will.
->Having a dark story is one thing, but it's not about wallowing in misery; it's about getting back up and
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-->--'''Linkara''' summing up his thoughts on [[https://www.youtube.com/watch?v=6OZb9W91i8I the Star Wars: The Empire Strikes Back comic adaptation]]
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->Well, I can definitively say that the Empire did, in fact, strike back, fulfilling the ''one'' thing it needed to accomplish. ''[beat]'' Unfortunately, this comic kinda sucks.
->It's not entirely without merit; it is still ''Film/TheEmpireStrikesBack'', after all. But while you can forgive some adaptation choices of condensing stuff or leaving in lines that would eventually be cut in the finished movie, you really have to wonder why the artists, Al Williamson and Carlos Garzon, kept failing to include really visual, important moments of the movie, and instead just pulling back and letting the narration do the heavy lifting.
->Sure, even as a movie adaptation, this was probably made using the Marvel Method, where the writer would just include so much narration, almost distrustful of the artists to get the point across. But I have to imagine they knew how significant some of these shots are, but instead letting dialogue and narration captions ''tell'' us what's going on instead of ''showing'' us. I will grant it that it manages to condense the movie into six issues of less-than-average length, and it doesn't feel like it's too overstuffed, but for a movie that had great cinematography, the art failed to convey how good the movie looked.
->I started this review with the question, "What makes ''The Empire Strikes Back'' the best ''Franchise/StarWars'' movie?"[[note]] I actually accidentally forgot to ask that question in the beginning and somehow didn't catch it until the end of editing. [[/note]] And I think it's a lot of things: competent heroes; competent villains; tense situations; the "war" of the title; the big moments being treated ''like'' big moments; and the terrible, tragic events ''treated'' as the terrible, tragic events they are.
->We see the triumphs of the villains and want our heroes to rise up that much more... but can't just yet. And I think that's one of the big factors of its success, the thing I keep speaking about when it comes to why I love superhero comics: It leaves us wanting more. It leaves us wanting the next chapter, to see our heroes finally get that victory they so rightly deserve.
->Having a dark story is one thing, but it's not about wallowing in misery; it's about getting back up and resolving the darkness in some way that leaves the audience satisfied. It does what it promised it would do: push our heroes to the breaking point, as the Empire proves how strong they are even without a Death Star. And yet, our heroes make it through. They haven't won through yet, but we know they will.
->And it gets us to think about the Force in new ways, too: as a way of bringing these people together, just as ''all'' things are joined by it. The dark side came out on top today, but not tomorrow.
->It's not entirely without merit; it is still ''Film/TheEmpireStrikesBack'', after all. But while you can forgive some adaptation choices of condensing stuff or leaving in lines that would eventually be cut in the finished movie, you really have to wonder why the artists, Al Williamson and Carlos Garzon, kept failing to include really visual, important moments of the movie, and instead just pulling back and letting the narration do the heavy lifting.
->Sure, even as a movie adaptation, this was probably made using the Marvel Method, where the writer would just include so much narration, almost distrustful of the artists to get the point across. But I have to imagine they knew how significant some of these shots are, but instead letting dialogue and narration captions ''tell'' us what's going on instead of ''showing'' us. I will grant it that it manages to condense the movie into six issues of less-than-average length, and it doesn't feel like it's too overstuffed, but for a movie that had great cinematography, the art failed to convey how good the movie looked.
->I started this review with the question, "What makes ''The Empire Strikes Back'' the best ''Franchise/StarWars'' movie?"[[note]] I actually accidentally forgot to ask that question in the beginning and somehow didn't catch it until the end of editing. [[/note]] And I think it's a lot of things: competent heroes; competent villains; tense situations; the "war" of the title; the big moments being treated ''like'' big moments; and the terrible, tragic events ''treated'' as the terrible, tragic events they are.
->We see the triumphs of the villains and want our heroes to rise up that much more... but can't just yet. And I think that's one of the big factors of its success, the thing I keep speaking about when it comes to why I love superhero comics: It leaves us wanting more. It leaves us wanting the next chapter, to see our heroes finally get that victory they so rightly deserve.
->Having a dark story is one thing, but it's not about wallowing in misery; it's about getting back up and resolving the darkness in some way that leaves the audience satisfied. It does what it promised it would do: push our heroes to the breaking point, as the Empire proves how strong they are even without a Death Star. And yet, our heroes make it through. They haven't won through yet, but we know they will.
->And it gets us to think about the Force in new ways, too: as a way of bringing these people together, just as ''all'' things are joined by it. The dark side came out on top today, but not tomorrow.
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->'''Linkara''': I think by now, you should know how I feel about ''ComicBook/{{Youngblood|ImageComics}}''. In case you don't, it sucks! You can yell until you're blue in the face about how the concept of a proactive superhero team that has merchandising and appears on talk shows and are celebrities and crap is such a wonderful idea, and it's just the execution that fails, but in the end, it doesn't change that ''Youngblood'' sucks! You can tell me about the runs from Creator/AlanMoore or the revived series from 2011, and that's great if they really are good, but it just keeps bringing me back to the question of why the hell anyone would want to do anything with this series when there is so much friggin' baggage with it!! Look, my rant against the ''Comicbook/XMen'' in my "Next 15 Screw-Ups" was [[IWasJustJoking half joking]]. I don't hate the X-Men and there are plenty of bad stories out there that have nothing to do with them, and there are great runs on the X-Men books. But Youngblood is a team that does not deserve all the hard work of creators! It's a bunch of unmemorable ripoff characters, growling and gritting teeth, and saying really stupid things, and squinting and doing over-exaggerated poses and all that crap! Let Youngblood die, already! Just let it die! Creator/RobLiefeld does not deserve [[CreatorWorship the amount of loyalty that he somehow has engendered]]!
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->'''Linkara''': I think by now, you should know how I feel about ''ComicBook/{{Youngblood|ImageComics}}''. In case you don't, it sucks! You can yell until you're blue in the face about how the concept of a proactive superhero team that has merchandising and appears on talk shows and are celebrities and crap is such a wonderful idea, and it's just the execution that fails, but in the end, it doesn't change that ''Youngblood'' sucks! You can tell me about the runs from Creator/AlanMoore or the revived series from 2011, and that's great if they really are good, but it just keeps bringing me back to the question of why the hell anyone would want to do anything with this series when there is so much friggin' baggage with it!! Look, my rant against the ''Comicbook/XMen'' ComicBook/XMen in my "Next 15 Screw-Ups" was [[IWasJustJoking half joking]]. I don't hate the X-Men and there are plenty of bad stories out there that have nothing to do with them, and there are great runs on the X-Men books. But Youngblood is a team that does not deserve all the hard work of creators! It's a bunch of unmemorable ripoff characters, growling and gritting teeth, and saying really stupid things, and squinting and doing over-exaggerated poses and all that crap! Let Youngblood die, already! Just let it die! Creator/RobLiefeld does not deserve [[CreatorWorship the amount of loyalty that he somehow has engendered]]!
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->[[WritersSuck Rob Liefeld can't write!]] [[OffModel Rob Liefeld can't draw!]] Rob Liefeld can't create! And don't go telling me about how he created ComicBook/{{Deadpool}} and {{Comicbook/Cable}}! One--he didn't create Deadpool! [[EarlyInstallmentWeirdness He created some boring-ass mercenary who spoke in yellow-colored speech bubbles!]] [[MyRealDaddy Nobody would give a damn about him if not for the work of everybody else but him!]] And as for Cable, most of my knowledge of the character comes from [[WesternAnimation/XMenTheAnimatedSeries the animated series]], but even if Cable really is all that awesome and iconic a character, well, congratulations. [[OverlyNarrowSuperlative You have found one, all of one character that Rob Liefeld created that's actually good]], except a good creator is capable of making more than just one good character! Liefeld, on the other hand, settles on inventing 60,000 characters, and none of them are good!
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->[[WritersSuck Rob Liefeld can't write!]] [[OffModel Rob Liefeld can't draw!]] Rob Liefeld can't create! And don't go telling me about how he created ComicBook/{{Deadpool}} and {{Comicbook/Cable}}! ComicBook/{{Cable}}! One--he didn't create Deadpool! [[EarlyInstallmentWeirdness He created some boring-ass mercenary who spoke in yellow-colored speech bubbles!]] [[MyRealDaddy Nobody would give a damn about him if not for the work of everybody else but him!]] And as for Cable, most of my knowledge of the character comes from [[WesternAnimation/XMenTheAnimatedSeries the animated series]], but even if Cable really is all that awesome and iconic a character, well, congratulations. [[OverlyNarrowSuperlative You have found one, all of one character that Rob Liefeld created that's actually good]], except a good creator is capable of making more than just one good character! Liefeld, on the other hand, settles on inventing 60,000 characters, and none of them are good!
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-->-- '''[[WebVideo/AtopTheFourthWall Linkara]]''', ''Top 15 Worst Heroes Becoming Villains''
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-->-- '''[[WebVideo/AtopTheFourthWall Linkara]]''', '''Linkara''', ''Top 15 Worst Heroes Becoming Villains''
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Eight maids-a-milking and a ComicBook/{{Youngblood}} Troll\\
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Eight maids-a-milking and a ComicBook/{{Youngblood}} ComicBook/{{Youngblood|ImageComics}} Troll\\
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->'''Linkara''': I think by now, you should know how I feel about ''ComicBook/{{Youngblood}}''. In case you don't, it sucks! You can yell until you're blue in the face about how the concept of a proactive superhero team that has merchandising and appears on talk shows and are celebrities and crap is such a wonderful idea, and it's just the execution that fails, but in the end, it doesn't change that ''Youngblood'' sucks! You can tell me about the runs from Creator/AlanMoore or the revived series from 2011, and that's great if they really are good, but it just keeps bringing me back to the question of why the hell anyone would want to do anything with this series when there is so much friggin' baggage with it!! Look, my rant against the ''Comicbook/XMen'' in my "Next 15 Screw-Ups" was [[IWasJustJoking half joking]]. I don't hate the X-Men and there are plenty of bad stories out there that have nothing to do with them, and there are great runs on the X-Men books. But Youngblood is a team that does not deserve all the hard work of creators! It's a bunch of unmemorable ripoff characters, growling and gritting teeth, and saying really stupid things, and squinting and doing over-exaggerated poses and all that crap! Let Youngblood die, already! Just let it die! Creator/RobLiefeld does not deserve [[CreatorWorship the amount of loyalty that he somehow has engendered]]!
to:
->'''Linkara''': I think by now, you should know how I feel about ''ComicBook/{{Youngblood}}''.''ComicBook/{{Youngblood|ImageComics}}''. In case you don't, it sucks! You can yell until you're blue in the face about how the concept of a proactive superhero team that has merchandising and appears on talk shows and are celebrities and crap is such a wonderful idea, and it's just the execution that fails, but in the end, it doesn't change that ''Youngblood'' sucks! You can tell me about the runs from Creator/AlanMoore or the revived series from 2011, and that's great if they really are good, but it just keeps bringing me back to the question of why the hell anyone would want to do anything with this series when there is so much friggin' baggage with it!! Look, my rant against the ''Comicbook/XMen'' in my "Next 15 Screw-Ups" was [[IWasJustJoking half joking]]. I don't hate the X-Men and there are plenty of bad stories out there that have nothing to do with them, and there are great runs on the X-Men books. But Youngblood is a team that does not deserve all the hard work of creators! It's a bunch of unmemorable ripoff characters, growling and gritting teeth, and saying really stupid things, and squinting and doing over-exaggerated poses and all that crap! Let Youngblood die, already! Just let it die! Creator/RobLiefeld does not deserve [[CreatorWorship the amount of loyalty that he somehow has engendered]]!
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->'''Lee:''' The future... it's horrible, Linkara. Everybody went to see the ''ComicBook/{{Youngblood}}'' movie, and, and, we all got... the diseeeaaaase!
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->'''Lee:''' The future... it's horrible, Linkara. Everybody went to see the ''ComicBook/{{Youngblood}}'' ''ComicBook/{{Youngblood|ImageComics}}'' movie, and, and, we all got... the diseeeaaaase!
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->Around August 2008, I was kind of directionless. I had written a bunch of reviews of terrible comics for my blog in the style of Website/TheAgonyBooth or Jabootu's movie reviews, but that was time-consuming for a hobby, and I felt like I wasn't really getting much out of it. My blog transitioned into more of a general "talking about comics" kind of thing (especially complaining about the two ''ComicBook/{{Titans}}'' books at the time), but I felt like I needed to actually do something for a career, or at least turn my passion for talking about bad comics into something that could make me money.
to:
->Around August 2008, I was kind of directionless. I had written a bunch of reviews of terrible comics for my blog in the style of Website/TheAgonyBooth or Jabootu's movie reviews, but that was time-consuming for a hobby, and I felt like I wasn't really getting much out of it. My blog transitioned into more of a general "talking about comics" kind of thing (especially complaining about the two ''ComicBook/{{Titans}}'' ''[[ComicBook/TeenTitans Titans]]'' books at the time), but I felt like I needed to actually do something for a career, or at least turn my passion for talking about bad comics into something that could make me money.
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->The ghost girl who died alone, betrayed, hated, and feared finally gets to let go of her hatred by having fun through creation, finding love and appreciation via her videos and building friendships with others. It may not bring one to tears like ''Sadako at the End of the World'', but it'll bring a smile through humor and Sadako getting to experience some true happiness through the art of something that we all enjoy: video creators.
->The greatest gift that I ever receive in doing this job is being told that I helped people through a difficult time in their life, that my goofy, snarky reviews where I say "boner" a lot and put on a silly Batman voice has actually made their life better, and I think that's true for any [=YouTuber=].
->It's not an easy job; as I've hinted at, long hours, mental health issues, stress, becoming nocturnal, pressure to perform and be successful, a bit of self-loathing if you hate your own voice or face or anything. But this is still the best job in the world, and I'm proud to have done it for 15 years and got to make you out there laugh. While some wince at the term "content creator" -- because it implies just someone churning out content mindlessly -- I like to focus on the second word there, because this is a creation, and the act of creation -- of art in particular, be it a comedic review, a painting, or as with Sadako, a cursed video -- is incredibly liberating and fun.
->Aya Tsutsumi, the manga artist who made this book, loves ''The Ring'' -- even the novels, that I don't -- and made this affectionate parody, a breezy comedy that pokes fun at the franchise while also celebrating it and its main character, as well as celebrating and poking fun at [=YouTube=] culture, and I really enjoy it. It's not going to win any big comedy awards or do some kind of daring, edgy new material that'll revolutionize how we see things, but it doesn't have to; it just needs to be fun. And while it doesn't have a big ending that it's been building to, sometimes just an ending is enough, and I feel like we've come to a good ending for our favorite ghost girl who loves retro physical media.
->If you do seek this one out, bear in mind that a lot of its formatting seems more aligned with gag-a-day strips (owing it to originally being planned as a web-only release), with some plot threads abandoned halfway through a conversation to focus on something else, but that ain't bad, either. These three years of looking at ''Ring'' manga have been great, and I only hope the next three -- whatever I end up looking at -- are just as fun.
-->--'''Linkara''' summing up his thoughts on ''[[https://www.youtube.com/watch?v=haMhHMurFPQ Sadako-san and Sadako-chan]]''
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-->-- '''Linkara''' on why he hates ComicBook/CivilWar
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-->-- '''Linkara''' on why he hates ComicBook/CivilWar
''ComicBook/CivilWar2006''
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->''US-1'' has been a delight since the first time I showcased it; sure, back then, I played up the anger and vitriol, but the truth is, I had a lot of fun with this, giving me so much material to the point where I thought that this was one of the best early episodes to show off a good script. But now? I'm just glad we've gone on this adventure together. From a trucker superhero to a trucker in space, I have indeed enjoyed the ride, Ulysses, and I look forward to seeing your adventures from here on out. [[Anime/CowboyBebop See you, space cowboy.]]
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->''US-1'' has been a delight since the first time I showcased it; sure, back then, I played up the anger and vitriol, but the truth is, I had a lot of fun with this, giving me so much material to the point where I thought that this was one of the best early episodes to show off a good script. But now? I'm just glad we've gone on this adventure together. From together; from a trucker superhero to a trucker in space, I have indeed enjoyed the ride, Ulysses, and I look forward to seeing your adventures from here on out. [[Anime/CowboyBebop See you, space cowboy.]]
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->As for U.S. himself, as I've been saying, this is not the last time we see him, but the end of his solo series means the end of this version of the character. Creator/AlMilgrom wrote the book during its whole run and injected so much fun into it.
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->As for U.S. himself, as I've been saying, this is not the last time we see him, but the end of his solo series means the end of this version of the character. Creator/AlMilgrom Al Milgrom wrote the book during its whole run and injected so much fun into it.
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-->--'''Linkara'''[='s=] intro to [[https://www.youtube.com/watch?v=bei30-SI78s&t=75s US-1 #12]]
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-->--'''Linkara'''[='s=] intro to [[https://www.youtube.com/watch?v=bei30-SI78s&t=75s com/watch?v=bei30-SI78s US-1 #12]]
#12]]
->This comic is a great finale. It's got action, it's got resolution on the characters, it's got heart, and it's got a lot of goofiness, which is especially hilarious when you think about how this is a comic promoting slot cars... and now they're flying through space, meaning you can't even pretend they're on a racing slot anymore.
->There are a few critiques I have. Some of the art is... questionable, especially when they vary the usual angles we see our heroes, but it's not too often. Retread never really had anything happen to him in all the time he was part of the cast; maybe there were some plans to do something with him and his backstory before the book was canceled, but otherwise, he was just there so U.S. had somebody to talk to.
->And the big issue I have is that Jeff in space was the last time we saw him in the book; I would've preferred some kind of wrap-up with him, some way of the two finally making up with each other and Jeff realizing that even after everything that happened, his brother still loved him, and maybe U.S. would invite him to join him in space and the two could have a fresh start together. But no; next time we see Jeff in the comics, he's still a villain, and in fact, would make a deal with Satan to become a legit supernatural threat.
->As for U.S. himself, as I've been saying, this is not the last time we see him, but the end of his solo series means the end of this version of the character. Creator/AlMilgrom wrote the book during its whole run and injected so much fun into it.
->''US-1'' has been a delight since the first time I showcased it; sure, back then, I played up the anger and vitriol, but the truth is, I had a lot of fun with this, giving me so much material to the point where I thought that this was one of the best early episodes to show off a good script. But now? I'm just glad we've gone on this adventure together. From a trucker superhero to a trucker in space, I have indeed enjoyed the ride, Ulysses, and I look forward to seeing your adventures from here on out. [[Anime/CowboyBebop See you, space cowboy.]]
-->--'''Linkara''' summing up his thoughts on [[https://www.youtube.com/watch?v=bei30-SI78s US-1 #12]]
->This comic is a great finale. It's got action, it's got resolution on the characters, it's got heart, and it's got a lot of goofiness, which is especially hilarious when you think about how this is a comic promoting slot cars... and now they're flying through space, meaning you can't even pretend they're on a racing slot anymore.
->There are a few critiques I have. Some of the art is... questionable, especially when they vary the usual angles we see our heroes, but it's not too often. Retread never really had anything happen to him in all the time he was part of the cast; maybe there were some plans to do something with him and his backstory before the book was canceled, but otherwise, he was just there so U.S. had somebody to talk to.
->And the big issue I have is that Jeff in space was the last time we saw him in the book; I would've preferred some kind of wrap-up with him, some way of the two finally making up with each other and Jeff realizing that even after everything that happened, his brother still loved him, and maybe U.S. would invite him to join him in space and the two could have a fresh start together. But no; next time we see Jeff in the comics, he's still a villain, and in fact, would make a deal with Satan to become a legit supernatural threat.
->As for U.S. himself, as I've been saying, this is not the last time we see him, but the end of his solo series means the end of this version of the character. Creator/AlMilgrom wrote the book during its whole run and injected so much fun into it.
->''US-1'' has been a delight since the first time I showcased it; sure, back then, I played up the anger and vitriol, but the truth is, I had a lot of fun with this, giving me so much material to the point where I thought that this was one of the best early episodes to show off a good script. But now? I'm just glad we've gone on this adventure together. From a trucker superhero to a trucker in space, I have indeed enjoyed the ride, Ulysses, and I look forward to seeing your adventures from here on out. [[Anime/CowboyBebop See you, space cowboy.]]
-->--'''Linkara''' summing up his thoughts on [[https://www.youtube.com/watch?v=bei30-SI78s US-1 #12]]
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Changed line(s) 395 (click to see context) from:
->With that, let us get into this, the final issue of ''US-1''[='s=] solo series.
to:
->With that, let us get into this, the final issue of ''US-1''[='s=] solo series. In our penultimate issue, we discovered that Jeff, U.S. Archer's beloved brother and supposedly murdered by the Highwayman, was in fact the Highwayman himself; Jeff, it turns out, had always been jealous of his brother, and he was finally given the opportunity to act on it. Jeff had been abducted by aliens to act as some kind of representative of theirs... but only because they messed up and originally wanted Ulysses; in fact, they were the ones who put the metal plate in his head that gave him his incredible abilities and made a contest of it: see if U.S. was really better than his brother... and he never won a decisive victory. As such, it all comes down to this final issue: the way to determine which of the two gets to work for the aliens.
->'''Nimue:''' And now, the conclusion.
->Let's dig into ''US-1'' #12 and see how this saga ends.
->'''Nimue:''' And now, the conclusion.
->Let's dig into ''US-1'' #12 and see how this saga ends.
