Griffin's characters rarely grapple with existential dilemmas or ponder profound questions of truth and justice, nor do they endure prolonged bouts of psychological turmoil. Yet, within this particular series, more so than his others, we encounter "dirty" characters. Gallagher, who infamously shoots Dutch Moffitt, drifts like jetsam on the sea of humanity. His character, already one-dimensional, lacks the depth Griffin bestows upon others through rich dialogue and vivid description. Instead, Gallagher is sketched in hues of grime, despair, and squalor, meeting his end shortly thereafter.

In stark contrast, Peter Wohl stands as a quintessential Griffin creation—a figure of unyielding interest, possessing an honorable yet adaptable nature, seemingly irresistible to women. Louise Dutton, drawn to Wohl, is a driven newscaster entwined in crimes beyond her control. Her salvation comes in characteristically Griffinesque style, courtesy of her millionaire father with his empire of TV stations, ultimately whisking her away from Wohl's embrace, underscoring Griffin's notion that the hero doesn't always claim the maiden's heart.

Chief Inspector Denny Coughlin emerges as another Master Gunnery Sergeant Stecker, reminiscent of Semper Fi (1986). His actions and the extensive backstory illuminate his character, which is fortunate given his aloof, regal, and stoically silent nature. Meanwhile, Matt Payne, akin to a Pick Pickering archetype, is a young, inevitably affluent senior at Penn. After failing his Marine Corps physical, he boldly applies to the Philadelphia Police Department, initiating his new path just two days before Uncle Dutch Moffitt's funeral.