I liked this episode a lot. One of David Vincent’s war buddies, Charlie Gilman, brought in Vincent because he thinks a guy he works with (Fred Wilk) isn’t human. Unfortunately this escalates to a fight between Gilman and the man and Gilman hits Wilk in the head with a wrench of something and Wilk dissipates in the way the Invaders do when they die. Even more unfortunately, this fight took place in front of a big industrial furnace and was partially witnessed by a security guard who has to assume that Gilman killed Wilk and threw the body into the furnace. And EVEN MORE unfortunately, Wilk was married to Gilman’s ex-girlfriend Janet so he has a motive to have killed Wilk that has nothing to do with him being an alien. So now, to free his friend David Vincent has to prove to the court that the dead man was not ever human.

I won’t go beat-by-beat or anything, but here’s some stuff I feel worthy of comment:

Vincent brings in a private investigator named Brennan to help him determine that there is no history of Wilk from more than a year ago. I love a good PI and Brennan may not believe Vincent’s story but he’s willing to help. Shame that he ends up dead (“What did Brennan have for us?” “A cerebral hemorrhage.”)

In their attempt to prove that Wilk did indeed have a past, two more Invaders show up as elderly humans posing as Wilk’s parents. After they do this Vincent follows them away and they mock him (they do, of course, know full well who he is) and poison themselves so they can die and burn away. We’ve seen Invaders who will sacrifice themselves for the cause, to burn away taking their tech with them or whatever, but I know of no reason that these two had to kill themselves after their testimony. It really makes me wonder about the alien attitude to life and death if they can throw it away so casually.

Janet has an infant child! I was uncertain on this one at first. Did it mean that the Invaders can mate with humans? It seemed so unlikely. They don’t have blood, they need technology to even simulate a pulse, I assumed there was no way the Invaders be jizzin’. But it makes sense, because it turns out that the kid was Charlie’s all along. (Charlie Gilman be jizzin’.)

It’s a good plot for not knowing who to trust. Vincent and Gilman prefer a trial by judge rather than trial by jury because that leaves less chance to Invaders to slip in. Until he knows of her romantic history with Charlie, Vincent is suspicious that Janet might be an Invader. There’s even a beat where Vincent can’t be sure that Charlie didn’t actually kill his love rival and call Vincent in to use Vincent’s alien stories as an alibi of sorts. Gilman does shut this down by pointing out that he’s willing to go to jail and if the exact same circumstances had happened but Wilk had been human, he probably would have done it.

But in the end, it turns out that Gilman’s lawyer (played by Russell Johnson, who also played the Professor on Gilligan’s Island!) is an Invader! We’re suspicious of the prosecutor all along, but no it turns out it was the guy we thought was on our side! In fact, we actually have no idea why the Invaders had one of their guys pose as Wilk and marry Janet. Maybe the company that Wilk and Gilman work for is in some way important to their cause, but here’s the thing: Gilman is a friend of David Vincent and they know they hate him. I would not be surprised if the whole thing was done just to strike at Vincent through his friends. And maybe it was a distraction to keep Vincent dealing with that while they did other things. We just don’t know, and I like that.

Anyway, after the lawyer is discovered he gets shot and burns up and Vincent has more witnesses than he usually does. Good episode.

Also, I just need to note that there’s a Black man in this episode. I’m pretty sure we’ve seen exactly one other Black person in this show so far and I think it was a train porter with no lines, so I was already mentally planning on addressing it in my final thoughts post when I’m done with the show. When it comes to diversity, Star Trek this show ain’t, but the guy here had a line. He was just an expert witness on the stand to confirm if a body could have burned up in a furnace. It’s hardly representation at its best, but in a way the fact that is so incidental works to a good end. Now let’s hope we can get a few more before the show ends.

These days the medium of comics has become synonymous with the superhero genre in ways that, frankly, annoy me. I hear people refer to the latest Marvel movie as a “comicbook movie” or they refer to the silly tropes of superhero stories as the sort of thing that happens “in comics”. But superhero stories are a genre, not a medium. Saying that a movie is a “comicbook movie” is as nonsensical as saying that a movie based on a novel is a “prose movie”. Gibberish.

Comics can do any genre. Comics should do every genre. Because of that, I have a fascination with the era between the end of World War Two and the 1960s when superheroes fell out of fashion in mainstream American comics. It was an era filled with horror and sci-fi comics, my favourite genres, but also westerns, romance, comedy, crime, and more.

I want to do a look into that era, to see what it may have offered that has been swept aside for our costumed crimefighters. And if I were to pick a single issue to examine that might best represent the between-superheroes era, I’d have to choose Young Men #21, the June 1953 issue. Why that issue? Well, because I own a copy of Young Men #21, which sure makes examining it more possible than if I didn’t. Anyway, let’s check out the first story in that issue to see what comics were providing for the children of the 1950s.

Oh yeah! Check out that splash! Cars racing! A bold declaration of “Young Men In Action!” A paraphrase of Rudyard Kipling! Surely this is going to be a rollicking good time!

This seven-page story is an origin for Flash Foster (real name Frederick Foster Jr.) and his custom hot-rod, the Model TNT. Sometimes character origins are great stories, that’s why superhero movies spend so much time on them. Less than a decade after this issue, Marvel will give us Spider-Man’s origin, one of the all-time greats. Does Flash Foster have a similarly excellent origin?

He does not.

It’s like this: Flash sees a hot rod drive by and decides that he and his friends should start a hot rod club, so they do. Okay, fine. I guess technically the origin also includes how he gets his car, so I’ll add that: they want a car for a while but can’t afford one, but then Flash finds a farmer with the beat-up remains of an old Model T. They buy that for cheap and then fix it up.

I feel like a comic, especially one that promised us action, could have condensed that previous paragraph to a single page. Or even a few pages if it wanted to sprinkle in some character bits. This comic waits until the second-to-last page to introduce any conflict beyond Flash wanting a car. That conflict? A young boy is sick, the doctor needed to save him is in a different town, and there’s a storm raging! Now we’re talking! Action at last! Here, I’ll show the single most action-packed segment of the comic:

Okay, we get that cool panel of Flash, sweat pouring down his face, driving intensely through the storm. Sure, the narration ruins it by saying that most of the trip was actually smooth, but don’t worry because the next panel also ruins it by cutting directly to the destination. Our dramatic climax is over and that one cool panel of driving is our reward for listening to this kid pine for hot rods for the rest of the story. (The trip back is even worse, a single panel of the car driving without any of the impressionistic fun).

Well, what about Flash himself? Is he at least a compelling protagonist? A cool hot-rodding rebel? A charming rogue who loves to race? The kind of kid who takes an old Model T and upgrades it into what he calls a “Model TNT” must be fun to read about, right? Let’s try something: here’s a handful of quotes that a kid like Flash might say about his chosen hobby. Try to pick out which one is really from this issue:

1. “We’re not doing this just for glory […], it’s so we can learn to do things on our own!”
2. “Now we can speed down the open roads! We can be free for the first time in our lives!”
3. “Racing is work! Anything good is work!”
4. “And we obey traffic laws! Yep, proving we’re not a menace is a big part of our job!”
5. “I took care to make it safe as well as fast! All serious hot rodders do!”

So which one is real? I tricked you! All of these are real quotes except #2. That’s right, Flash said all those things about hard work and safety, but not the one about the freedom that cars would bring him. Flash Foster is a little wiener kid.

There are no credits on the issue, so I don’t know who the writer is, and I can only eliminate artists who were working in this era but whose art I can tell this is not (it’s not Kirby, Ditko, or Colan, for example). I don’t know who created Flash Foster. But I can tell you this, they were definitely grown men who thought they were creating a good role model here. To be clear I, Patrick D Ryall, want young people to learn about the value of safety and respect and stuff, but I can tell you who wouldn’t love that: ten-year-old boys.

I admit, there are kids out there who will find themselves drawn to a goody-two-shoes type of character. I was that kind of kid. But I’d argue that those kids don’t need the lessons taught here as much as the reckless kids. If you want a protagonist to reach those kids, you’d need make Flash cool first and then smuggle the positive lessons in through the story. The kids who need to learn the value of car safety are not the ones who will see Flash saying “Car safety rules!” and say “Yeah, this guy gets it!”

Oh wait, I just remembered that Flash’s catchphrase is “Popping Pistons!”

I take it all back. This kid is cool as Hell.

Now to address the “and his high-gear hot-shots” part of the title. Flash Foster does, inexplicably, have friends. The majority of them are not named in this issue, but one is fat and one has glasses, so you can predict the kind of personalities they will develop if they make it into the next couple issues. There is also Sandra, a girl and enthusiastic friend of Flash who is not actually part of the hot rod gang, but her uncle is a reporter who could give them publicity (this does not happen in the story). The only one of Flash’s friends who is actually notworthy in this issue is Rod Randall, and I can not tell you how annoyed I am by the decision to name one of the kids in the hot rod comic “Rod”. It’s begging for confusion. Anyway, Rod is rich and he spends all his time asking “why don’t we just get my father to buy us a car?” so that Flash can argue the value of earning it themselves.

It’s a fine batch of friends. One can see this gang developing into a cast with personalities that play off each other like the Riverdale kids or something, but in this origin story they all have to take a back seat to Flash’s responsible car ownership.

So, is there anything in this story that I think would appeal to kids? Well…

If you’re a little 1950s kid who is into cars and likes thinking about cars and wants to read a comic where people talk about car stuff, this story mentions a bunch of car stuff. Come and get it!

A final aside: Marvel owns these guys, right? So you may wonder if Flash Foster exists in the Marvel Universe. Well, yeah. There’s a different “Flash Foster”, who was like a footballman or something, who appeared in the ’40s and I believe he has been referenced in modern comics, but out little hot-rodder here has not, to my knowledge. But the policy as I understand it is that characters like this are considered to exist in the Marvel Universe as long as nothing in canon contradicts their existence. So if they ever want Johnny Storm to go back in time to the ’50s and do a hot-rod race against some teens, well we’ve got the teens right here ready to go.

If I’m rating how this story stacks up against the superhero genre, I have to admit that nothing here makes racing stories seem like a winning genre for the medium. Still, there are still two more issues of Young Men with Flash and friends and they simply HAVE to be more action-packed than this one. It would simply not be possible for them to be less so.

In this one, America tells Japan that their cartoon can beat them up.

After the opening (it’s the new nature-themed one again) this short is basically just a montage of Superman sabotaging Japan (it’s apparently okay when he does it). Our intrepid reporters are prisoners in Japan, but every night Clark secretly busts out of the room he’s being kept in to bust up all the boats and bridges and stuff. I’m all for Superman wrecking up violent empires, but I could stand to see it with less wanton destruction. Take “How Superman Would Win The War” in which he strikes directly at the leaders of the aggressive nations. There at least he doesn’t kill a bunch of soldiers and destroy cities. Maybe you say that he can only do that in a sort of What If scenario like that short story because in the real world he can’t end the war? Well, to that I say maybe Superman isn’t the best place for this particular kind of propaganda then.

But hey, speaking of propaganda, we are still dealing with racist depictions of Japanese men, with the buck-teeth and so on. I’d take wanton destruction if we could get rid of that.

Anyway, they try to stop Superman by saying they will kill Lois if he keeps it up. He keeps it up. They put Lois in front of a firing squad, but just in time to block the bullets Superman arrives and beats them up and saves her. He brings her back to America, where she notes that Clark is still captured in Japan, but Superman will be there to protect him. It’s genuinely a sort of never-give-up bit of badassery that people like in superhero stuff and it would go down soother if not connected to the racist propaganda.