Viet Nam wasn’t the sort of place where heroes like G.I. Joe or Sgt. Rock would ever have fit in. It was different in the ’Nam: hard to tell the good guys from the bad guys, or even which side you were playing on.
Marvel’s The ’Nam is a war comic for that very different war. Always maintaining a strong sense of story, it nevertheless paints the entire conflict in murky shades of gray, where “good guys” don’t always win, and the real losers are often those who weren’t doing the fighting.
Although Frank Castle (who would later become the Punisher) has been known to make an appearance from time to time, The ’Nam is no place for super-heroes. Well-plotted and compelling, this series has enjoyed long success in an era where other war comics don’t seem to sell.
I remember there being a big stink about this mag when it was being published...I picked up the first issue off the newsstand, and it took me years to track down the second issue....
I loved this quirky little book during it's publication (way back in '86 to '87....man, am I showing my age), and am glad to see the character getting some on-panel time in the current run of Daredevil...
If you're a child of the 1970s, much like myself, then you probably have a great love for that particular decade's version of Jackass...Evel Knievel...
Oh, how I covetted and desired the Ideal toys, begging my parents until they broke down and bought me all of them....
Well, here for you reading pleasure is the give-away comic that was packaged with the toys....I sure do miss rip-chord cycles....
I read, collected and enjoyed this title immensely during my high school days. It's a surreal little slice of bat-shit insane science fiction with some great art by Ron Wagner. Thanks to Zen Tiger for the scans...
From Wikipedia:
Nth Man: The Ultimate Ninja is a comic book about an American ninja set in an unspecified near future where World War III has started. It was written by Larry Hama between 1989 and 1990, based largely on his success writing the G.I.Joe: A Real American Hero comic, which he wrote concurrently with The Nth Man (and also features a modern ninja as one of the main characters). Nth Man and Alfie O'Meagan first appeared in Marvel Comics Presents #25 (August 1989).
The series starts in medias res with American soldiers parachuting into war-torn Moscow in an attempt to rescue the Nth Man. Using TV news commentary as a plot exposition device, it is revealed that the war was caused by Alfie using his psychic abilities to neutralise all nuclear weapons on the planet and upsetting the balance of power.
As the story progresses, we learn that Alfie has grown up in an orphanage alongside John Doe (the "Nth Man" of the title). Doe was adopted by an elderly Japanese man who worked for the CIA's "Black Ops" division. Doe was raised as a ninja, taught to kill without regret.
While in the orphanage, O'Meagan had visions of possible futures (the "could-be's") and over time, his powers grew so that he was able to control matter and produce other effects that were against the physical laws of the universe.
The story has numerous twists and turns, as Alfie gains vast power while losing his sanity. When the Soviet Union launches biological weapons, Alfie's attempt to turn them harmless backfires. Using a narrative jump of one year (which was forced upon writer Larry Hama in order to wrap up the story, due to the cancellation of the series), we see that the biological weapons were turned into a mutagenic virus, and millions are transformed into psychotic, cannibalistic "moots".
The storyline is complex, following numerous characters through war zones, plague-ridden post-Apocalyptic landscapes, inside a video game, alien worlds, and various points in time and space. The conclusion of the story makes use of a paradox and Doe and O'Meagan are shown to be responsible for their own origins.
When I was a kid, I became a huge fan of Marv Wolfman and Gene Colan's amazing Marvel Comics' effort, Tomb of Dracula. It's 70 issue run is considered by myself to be one of the better attempts at the horror genre in sequential art....but...it's anime adaptation? Some of the best unintentional humor on the planet.
From Wikipedia:
In 1980, an animated television movie based on Marvel Comics' Tomb of Dracula was released. Much of the main plot was condensed and many characters and subplots were truncated or omitted. The film was animated in Japan by Toei and sparsely released on cable TV in North America by Harmony Gold under the title Dracula: Sovereign of the Damned, and has been released on VHS as The Tomb of Dracula: Sovereign of the Damned.
Y'know...whenever I think of the early Halloween "beggar's nights" I participated in during my youth (or at least the part of it spent in the late 1970s), my memories are filled with imagery connected to the band KISS....
Hell, I'm pretty sure that I went dressed as Peter Criss at least twice prior to my seventh birthday....
Anyways, I figured now would be as good a time as any to share scans of one of the more oddball pieces of my comic book collection: Marvel Super Special #1: KISS....
Here's a little background on the book, courtesy of Snopes.com:
Claim: Blood from KISS band members was mixed with the red ink used to print the first KISS comic book.
Status: True
Origins: Given that the concept for the band KISS drew upon comic book superheroes almost as much as upon music itself, they were a natural to feature someday in their very own comic. Sure enough, that came to pass in 1977 when Marvel Comics issued the first Super Special KISS comic book. Never one to pass up a good marketing opportunity, KISS willingly went along with a promotional gimmick invented to spur sales of the first edition. As Gene Simmons recalled: As the KISS comic book project moved along, someone came up with the idea of putting real blood in the ink. It wasn't me — maybe it was Bill [Aucoin] or Sean [Delaney]. We got into a DC3, one of those big prop planes, and flew up to Buffalo to Marvel's printing plant, where they pour the ink and make comic books. A notary public actually witnessed the blood being drawn. Sure enough, KISS members allowed their blood to be drawn during a concert stop, and they later flew up to New York to be photographed adding their vials of donated blood to a barrel of red ink. A notary public duly certified the authenticity of the process, and the notarized document was made available as the "KISS comic book contract": This is to certify that KISS members, Gene Simmons, Ace Frehley, Paul Stanley and Peter Criss, have each donated blood which is being collectively mixed with the red ink to be used for the first issue of the Marvel/KISS comics. The blood was extracted on February 21st, 1977 at Nassau Coliseum and has been under guarded refrigeration until this day when it was delivered to the Borden Ink plant in Depew, New York.
A subsequent rumor maintained that, due to a mix-up at the printers', the batch of red ink containing the blood of KISS members was actually used for a print run of Sports Illustrated magazine and did not end up in the Marvel Comic as intended.
We start off this year's Mighty Marvel Monsterbash a few days early this year with this post spotlighting one of the best vampires ever to grace a comic page: HELLCOW!
Hellcow first appeared in Giant-Sized Man-Thing #5 from 1975....and the rest is history. I guess...
Y'know what I really love to do when I'm terribly depressed and blue? It involves comics...and, well....I'm an odd guy.
One thing I love to do, and trust me, it's hilarious even if it might be considered blasphemous, is go to my local comic shop and pull out four or five issues of The Incredible Hulk, circa 1970s, out of their quarter boxes (because condition doesn't really matter), read 'em...and while reading them, take an ink pen and magic marker and replace the word "Hulk" with "Jesus" wherever it might appear, and draw a little beard on the Hulk. Then, go back and read it again.
This exercise is priceless, I assure you. Try it sometime.
The other is go to whatever public retail venue that might be near that sells comic books that isn't a comic shop (the grocery store, Wal-Mart, gas station) and buy an Archie comic book. This is actually quite a chore, because if you haven't noticed, comics have lost their foothold on the American newsstand, and Archie Comics is one of the few left that's actually stuck it out and is still hanging in there.
Now, I do this because Archie Andrews and his world of Riverdale is comfort food for the fanboy. Over the last nearly 70 years of publication, Archie and the gang have stayed stagnant. Nothing really changes for them except clothing styles and slang. No matter how hectic your life has become, or what troubles you may be facing, the Riverdale kids and their supporting cast remain the same. Sure, within the last few years, Archie Comics has begun experimenting with concepts that seem completely foreign to them, yet common place with all other publishers...i.e., continuing storylines, cross-overs, and the occasional change of pace from the Archie "house" art style....an art style that was pretty much defined by one man in the late 1960s: the late Dan DeCarlo...but pretty much things are how they've always been in Riverdale. And, I find that comforting and endearing...it's nice to go someplace where (much like the fictional bar "Cheers") everybody does know your name...and they're happy to see you again...just like the last time you were around. It's the comic book fan's equivalent to going back home again...
So, to celebrate the works of DeCarlo, I figured I'd dig deep and drag out some really obscure stuff...
Homer the Happy Ghost, as you can probably already tell, was Atlas/Timely/Marvel's none-to-subtly veiled rip-off of the incredibly successful Harvey Comics "Casper the Friendly Ghost" property, which was written by Stan Lee and illustrated by DeCarlo in the 1950s. In 1970, Marvel decided to revive the series, which was basically reprints of the 50s material that lasted around 5 issues...
From Wikipedia:
Homer the Happy Ghost was published by Atlas Comics in the 1950s. His first issue was dated March 1955. All of the issues were written by Stan Lee and Dan DeCarlo. The title lasted until 1958. Willie Lumpkin, has a much more amazing tale, as told again by Wikipedia:
The character was originally created for a syndicated, daily comic strip by writer Stan Lee and artist Dan DeCarlo. Lee had initially submitted samples of a strip about a New York City beat cop, but was told by his editor that it was too "big city-ish" and that he wanted a friendly mailman to better appeal to mainstream America. Willie Lumpkin, which was only published in 1960, drew humor from the people and situations Willie Lumpkin would encounter along his mail delivery route in the small town of "Glenville."
Lee and artist Jack Kirby then introduced their comic book version of Willie Lumpkin in Fantastic Four #11 (February, 1963). The comic book Lumpkin is depicted as significantly older than in the comic strip, though the character's good nature was retained, as were references to his past as a mailman in Glenville, which the comic book located in Nebraska.
In his first comic book appearance, Lumpkin is represented as having befriended the Fantastic Four, to whom he makes regular fan mail deliveries at their Baxter Building headquarters in New York City. He half-jokingly requests to join the team on the grounds that he has the "power" to wiggle his ears. He serves as their mailman for many years, and on occasion falls into the zone of danger that typically surrounds the adventuring heroes. Examples include a story in which he is forced to spend Christmas Eve locked in a closet while the Fantastic Four fight the Super-Skrull, when he helped to save the team from the Mad Thinker, or when he is mind-controlled into accessing Doctor Doom's time machine by a minion of Immortus. An alien Skrull also impersonates him in another story to infiltrate the Fantastic Four's headquarters. Willie Lumpkin also crossed over into Spider-Man comics, where he briefly dates Spider-Man's Aunt May.
Willie Lumpkin appeared in his own solo feature in Marvel Comics Presents #18 (May, 1989). The fan-favorite story was a parody of A Christmas Carol in which Lumpkin is visited by the Ghost of Christmas Past, who had intended to haunt cantankerous Spider-Man nemesis J. Jonah Jameson but couldn't find his address. The story concludes with the normally amiable postman deciding that he hates Christmas.
Willie has since retired, and his niece Billie has taken his position as the Fantastic Four's mail carrier.
Above: Willy's niece- Wilhemina "Billie" Lumpkin
Willie appears in Fantastic Four #543, being interviewed about the FF on the news show 'Lateline'. He talks about how, though the group took on cosmic menaces, they always found time to greet him.
In a lovely little bit of comic book geek fan service, none other than Lumpkin co-creator, Stan Lee, portrayed the mightiest mail carrier of the Marvel Universe in the 2005 Fantastic Four film...
After several attempts at posting the show myself in it's entirety, I've just left all the hard work up to the folks over at the INTERNET ARCHIVE and figured I'd post their links...
• 01 - Fantastic Four meets the Mole Man • 02 - Menace of the Miracleman • 03 - Coming of the Submariner • 04 - Dreaded Dr Doom • 05 - Prisoners of the Puppet Master • 06 - Fantastic Four meet the Incredible Hulk
• 07 - Spell of the Hate Monger • 08 - Return of Dr Doom • 09 - In the Clutches of Dr Doom • 10 - Super Skrull Walks Among Us • 11 - At the Mercy of the Red Ghost • 12 - Menace of the Red Ghost • 13 - Submariner Strikes
One of the prized possessions amongst my comic book collection is a very nice, VF/NM condition set of the Galactus Triliogy that I paid an arm and a leg for. I absolutely love this story, and feel it's the point at which Lee and Kirby really hit their stride in the now fabled "Marvel Age of Comics" during the Silver Age.
One of the biggest disappointments for me is when Hollywood decided to adapt this storyline to a feature film (2007's Fantastic Four: The Rise of the Silver Surfer), they didn't try and depict Galactus is all his purple tuning fork helmet glory, but instead opted for a giant magic space cloud that just kinda hinted at it....
So, anyways....I was recently rewatching some episodes of the 1967 Hanna-Barbera Fantastic Four cartoon, and felt compelled to share not only Galactus' first appearance, but his first appearance on film (in any medium), episode 15 of The Fantastic Four (Hanna-Barbera, 1967), "Galactus"....
Y'know....the reason for the lateness of this (the most recent) entry of Who's Who...Cares? is due to just pure lack of motivation. Sure, I've been planning an expose of DC Comics' busty heroine Power Girl's seemingly ever-expanding busom (hey....don't place any blame on me...I blame the topic on the folks over at the Comic Geek Speak forums for starting this whole mess....), but the hassle of searching through scans, preparing the proper CBR files for sharing, and just finding the time, effort and inclination to do this has been a task as of late.....
But then, out of nowhere while digging through some old comics to read, I ran across the two issues of the 1987 Marvel Comics adaptation of the ABC television show, Sledge Hammer....
Inspired by Clint Eastwood's no-nonsense approach to law enforcement in the Dirty Harry films, teenager Alan Spencer dreamed up the idea of a police officer whose approach was even more over-the-top, to the point of comical absurdity. At the age of sixteen, Spencer wrote a screenplay based on this idea. The script and the main character were both named "Sledge Hammer".
Spencer quickly reworked his script for a half-hour television format. HBO executives did not like it, however, and suggested changes that Spencer found unacceptable, such as casting Dangerfield or Joe Piscopo in the lead role. Surprisingly, last-place ABC was willing to take a chance on the unorthodox script. ABC insisted that the violence be toned down for network television and that a laugh track be included (although it should be noted that some versions, such as that shown by ITV regions in the United Kingdom, do not have this track), but agreed to cast Spencer's first choice for the lead character, the classically trained actor David Rasche. Sledge Hammer! entered ABC's fall lineup in 1986.
Fortuitously, the pilot of Sledge Hammer! was completed just as Peter Gabriel's song "Sledgehammer" became a huge hit. ABC took advantage of this pleasant coincidence by using Gabriel's popular tune in television, radio and film advertisements for the show.
Inspector Sledge Hammer of the Los Angeles Police Department is a violent, sadistic, insensitive, yet oddly likable detective. His best friend is a .44 Magnum with a customized grip featuring a drawing of a sledgehammer. Hammer sleeps and showers with his gun, and even talks to it. Hammer believes in shooting first and asking questions never. In the pilot episode, he deals with a sniper on a roof by blowing up the entire building with a rocket launcher, then turns to the uniformed cops on scene and says "I think I got 'em"; he also mentions that his favorite charity is "Toy Guns for Tots". Hammers father was Jack Hammer, a legendary carnival trick shooter whose repetory of shooting tricks included catching a bullet in his teeth, which saved his son's life in one episode. His mothers name was Armin Hammer.
While purportedly a stickler for law and order, Hammer is rather lax when it comes to following police regulations. He enjoys roughing up suspected criminals, whom he frequently refers to as "brain-dead mutants", "yogurt-sucking creeps", and the like. He is often suspended from duty, and his police file literally requires a wheelbarrow to transport.
Hammer drives a beat-up, bullet-riddled, lime green Dodge St. Regis with an "I ♥ VIOLENCE" bumper sticker. He prefers to wear cheap sports jackets, loud neckties, and dark sunglasses. He is divorced, and frequently makes jokes at the expense of his ex-wife (who makes an appearance in the final episode, played by Rasche's real-life wife, Heather Lupton).
Despite his irresponsibility and utter incompetence, Hammer always ends up getting his man (or woman), often through sheer luck or brute force. Hammer's unintentionally ironicmotto is "Trust me. I know what I'm doing." (Disaster usually follows afterward.) Another expression he often utters is "Don't confuse me", typically in response to any remark that challenges his ridiculously one-dimensional worldview.
Hammer's partner is the beautiful Detective Dori Doreau (played by Anne-Marie Martin), who is competent, kind, sensitive, intelligent, and sophisticated—everything Sledge is not. Doreau is often shocked and offended by Hammer's crass behavior and obnoxious attitude, but she appears to see some redeeming qualities beneath his gruff exterior. (Indeed, it becomes apparent with time that she has some romantic feelings for Sledge.) Hammer's blatant male chauvinism is a running gag in his dialogues with Doreau:
Doreau's cautious and compassionate approach to law enforcement is a crucial counterpoint to Hammer's reckless and nihilistic quest for justice. Yet Doreau is a tough, agile cop who can handle a gun and deliver a well-timed karate kick when necessary. She frequently saves Hammer from the extraordinary predicaments he invariably gets himself into.
Hammer and Doreau are supervised by the chronically uptight, Pepto-Bismol-guzzling Captain Trunk, played by Harrison Page. Trunk spends most of his time yelling at Hammer for his incompetence or complaining about his migraine headaches brought on by Hammer's antics. If Trunk has any respect or fondness for Hammer, he hides it extremely well. In one episode ("Miss of the Spider Woman") Hammer is about to die from snake venompoisoning but is saved at the last minute when Trunk shows up with the antidote:
Hammer: How can I ever thank you?
Trunk: Don't drink it.
Despite critical acclaim, Sledge Hammer! struggled in the ratings. This was due in large part to its being scheduled in the Friday 9 p.m. timeslot (popularly known as the Friday night death slot), against CBS's Dallas and NBC's Miami Vice, two of the most popular shows on television at the time; in one episode, Hammer remarks that it must be bad to be between a man from Dallas and a man from Miami, an obvious reference to both shows. In his commentary on the first season DVDs, Alan Spencer remarks that the only series getting lower ratings than Sledge Hammer! was FOX's The Tracey Ullman Show. That actually applied to the second season.
In truth, Sledge Hammer! attracted weekly viewership of nineteen million viewers who followed the show religiously through its many time slot shifts. The fact that the series appealed to key target demographics also kept it on the schedule. Hammer! would invariably improve on any time slot the network placed it into.
Because ABC intended to cancel the series, the last episode of the first season ends with Hammer accidentally destroying the city when he attempts to disarm a stolen nuclear warhead; just before the explosion Hammer remarks on his infamous phrase "Trust Me....." . The last scene shows the "Beneath the Planet of the Apes"-style ruins of the city with Trunk's voice screaming "HAMMMMMMMER!", and a graphic flashed:
"To Be Continued... Next Season?"
However, this episode got much better than expected ratings, in large part because the network had moved the show to a better time slot. ABC changed its mind and renewed the show for a second season.
The first episode of the second season perfunctorily explained that it and following episodes were set "five years before" the explosion. Bill Bixby (of Incredible Hulk fame) was brought in to direct numerous episodes. Doreau is Sledge's partner in the second season, a glaring (and unexplained) inconsistency, as the two are portrayed as meeting for the first time in the pilot episode, which supposedly takes place years later (though, it is possible that the explosion takes place five years after the first season and the second season picks up where the show left off). This is more than likely a spoof of cop-out endings to season-ending cliffhangers (a notorious example is Dallas's season opener, where the previous season was revealed to be a dream). In the final moments of the final episode, Sledge asks Dori to marry him, but then claims he was only kidding. The viewer is left to imagine what happens next.
The second season suffered from another extremely undesirable time slot (this time against The Cosby Show), a reduced budget, and lowered filming standard (down to 16 mm film from the previous season's 35 mm). It was not renewed for a third season.
I thought that this show was one of the funniest things in existence when it first aired, and treasure my copies of the DVD releases of the entire series.....they just don't make fun television like this anymore, IMO.
I've been fascinated with any and all interpretations of the King Features Syndicate alumni of superheroes since becoming a fan of the 1980 Dino DeLaurentis-produced Flash Gordon film, and this incarnation of those franchises was a favorite of mine as a kid.
From Wikipedia:
Defenders of the Earth is an animated television series produced in the mid 1980s, featuring characters from three comic strips distributed by King Features Syndicate—Flash Gordon, the Phantom, and Mandrake the Magician—battling the Flash Gordon villain Ming the Merciless in the year 2015. Supporting characters include their children Rick Gordon, Jedda Walker (daughter of the Phantom), Kshin (adopted son of Mandrake), Mandrake's assistant Lothar, and Lothar's son L.J. The show lasted for 65 episodes; there was also a short-lived comic book series published by Star Comics (an imprint of Marvel Comics). The closing credits credit Rob Walsh and Tony Pastor for the main title music, and Stan Lee for the lyrics.
In 1987, Star Comics (Marvel Comics' children's imprint) published a comic book series which only lasted four issues. It was written by Stan Lee (#1) and Michael Higgins (#2-4) with art by Alex Saviuk. The last issue featured a "next issue" caption but, #5 was never published.
Remember the good ol' days when comic book properties themselves weren't looked at as potential seeds for multimedia franchises? Back when the big publishers would license nearly anything, hoping to catch some of the backend cashflow from whatever might just happen to become the next big fad or trend? Well, this book is yet another casualty of that by-gone era, and one of the more enjoyable "WTF?!?" moments of 1990s Marvel (and there were alot of those).
Now, I'm a HUGE fan of old-school wrasslin', steeped heavy in the seemingly long-gone practice of kayfabe...and was a HUGE fan of this particular promotion, which was a natural evolution of my childhood love of the southern promotions involved in the "sport" (i.e., the AWA, NWA, USWA, Smokey Mountain Wrestlin, etc.,....). During the "Monday Night War" (the last time I took an active interest in professional wrestling), I was a member of the WCW side of the battle.
What I really enjoy is going back a re-watching the pre Monday Nitro (pre-1995) WCW, back when it was just a programming filler on Saturday nights on TBS, back when it was still knee-deep in kayfabe and some of the really....interesting....gimmicks and acts were being pawned off on the viewers.
This book is ridiculously corny, but chock to the brim with unitentional humor and just bad.....no, mean REALLY BAD artwork and scripts. It lasted 12 issues, and trust me, it's murder to try and make er way through 'em.
Which is why they're perfect fodder for inflicting pain on my readers.....
I was a big fan of this short-lived animated series as a kid, and eagerly scooped all 8 issues of the Marvel Comics tie-in as they were published.
Fueled by a rabid STAR WARS facsination, I ate this thing up as a kid, and enjoy the show immensely as an adult with a raging "Boba Fettish" seeing as how this show was some of the first "Expanded Universe" canon appearances of a couple of the bounty hunters, Boba Fett and IG-88.
Over the course of the series, the droids team up with four different sets of masters. The first season is divided up into cycles; at the beginning of each, the droids usually run into their new masters in an accidental way, and at the end of each cycle, they usually are forced to leave their masters for one reason or another. The Great Heep, a television special following the first season, served as a prequel to one of these cycles.
The famous droid duo faced off against gangsters, criminals, pirates, Boba Fett, IG-88, the Empire and other threats throughout the series. During their adventures, the droids always found themselves with new masters and new difficult situations as a result.
There is some controversy in Star Wars fandom as to whether the Droids cartoon series should be considered canon in the Star Wars timeline. Though officially endorsed by Lucasfilm, the overall premise of the series does not fully mesh with the storyline and consequences of the films Revenge of the Sith and A New Hope.
At the end of Episode III, Senator Bail Organa (adoptive father of Leia Organa) tells Captain Antilles on the Tantive IV consular ship, "I'm placing these droids in your care. Treat them well. Clean them up. Have the protocol droid's mind wiped." In Episode IV, C-3PO tells Luke Skywalker that their last master was Captain Antilles. However, in the Droids series, the droids have numerous masters after Captain Antilles is entrusted with them in Episode III, but before Captain Antilles is shown to have or regained care of them in Episode IV. The Star Wars Ultimate Visual Guide gives one official explanation for this continuity issue, mentioning that the droids were "accidentally separated" from Antilles "before returning to Captain Antilles' ship, the Tantive IV."
In "A Race to the Finish", C-3PO claims that another droid graduated from the same "production academy" as he had. This may be a continuity issue, as in Episode I it is revealed that C-3PO was built by Anakin Skywalker, although this contradiction could be explained by the fact that his memory was erased at the end of Episode III.
This is a book I've been wanting to showcase for awhile, simply because of how goofy the premise and concept is.
It's about a trucker....with a hi-tech (by 1983 standards) 18 wheeler...with a CB radio implanted in his skull.
Yes....I actually bought this book as a kid (it lasted 12 issues, amazingly). Why? I was 9 years old, that's why. It was just another in a line of Marvel books where the publisher tried to cash in on a fad (this time around, the citizen's band radio craze), but someone forgot to tell Marvel that the fad was over about 3 years earlier...kinda like the Dazzler. The book was also a licensed toy tie-in...which about 50% of the time is usually a death knell for comic book to begin with...
Though I do remember towards the end of the run the reason I was buying the book was for the amazing painted covers by an early favorite artist of mine, Mike Golden....too bad he wasn't on the interior pencils. Download Link (Hosted by Megaupload)
Eclectic and eccentric, the rogue polymath known as the Hong Kong Cavalier is the secret identity of Anthony Wayne Conn...a thirty-something example of far too much television and way too many comic books in the 1980s. He will charge if spooked.
I loved this quirky little book during it's publication (way back in '86 to '87....man, am I showing my age), and am glad to see the character getting some on-panel time in the current run of 
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