Peddy served as vice president under Krigstein, with Harry Harrison as secretary, Larry Woromay as treasurer, and Ross Andru, Ernie Bache, John Celardo, Morrie Marcus and Bernard Sachs as members-at-large.

But during his presidency of the Society, the politically like-minded publisher of EC Comics, William Gaines, began giving him work (heeding the advice of editor Harvey Kurtzman).

The protagonist is a former Nazi death camp commandant named Reissman who had managed to elude justice until he is spotted ten years later riding the New York City Subway.

This story was remarkable for its subject matter, since the Holocaust was rarely discussed in popular media of the 1950s, as indicated by the controversy that same year surrounding Alain Resnais's Night and Fog (1955).

[7] In his expansion, Krigstein had stretched out certain sequences in purely visual terms; repetitive strobe-like drawings mimic the motion of a passing train, and Commandant Reissman's final moment of life is broken down into four individual poses of desperate physical struggle.

Art Spiegelman described the effect in The New Yorker: "The two tiers of wordless staccato panels that climax the story... have often been described as 'cinematic', a phrase thoroughly inadequate to the achievement: Krigstein condenses and distends time itself... Reissman's life floats in space like the suspended matter in a lava lamp.