Little is known about artist Sid Check, aside from the fact that he was a contemporary of fellow artists Wallace Wood, Joe Orlando, and Harry Harrison, among others, in the 50's. When Wood and Orlando began their early art collaborations, Sid Check as well as Harrison were also fellow members of the same art studio. It isn't surprising that all four of them would soon be working for the same publisher, EC Comics, doing work with remarkably similar styles.
To the untrained eye, Check's work can often be mistaken for Wood's. Check's art is generally engaging and attractive, if not entirely as well constructed as Wood's art was. Less prolific than Wood certainly, Check's work in comic books was short-lived, from December 1951 through 1958 mostly, with a smattering of work done sporadically in the early 70's. If anyone has more information regarding Sid Check, please tell us. He remains a veritable mystery to even the most hardcore comic fans to this very day, as precious little has ever been documented concerning him.
Today's post comes from EC's CRIME SUSPENSTORIES #13, from 1952, and was written by Al Feldstein. It was one of those occasions when EC did a double approach to a storyline, and gave it their patented twist ending, in this case telling the story first one way, and then altering it slightly for a second version. Here then I present to you the aptly named