had two filters with the colors reversed, green for the left eye and red for the right. The filters separated the images, the green filter blocking the green image and browning the red, and the red filter blocking the red image and browning the green. Thus the left eye saw only the left image and the right eye saw only the right, and the brain behind the eyes combined these 2-D images into a single 3-D view. But 3-D comics had challenges all their own. A 3-D view of a flat drawing would still look flat. For the view to look otherwise, the drawing had itself to be a 3-D object. This required more labor than 2-D comics did. A 2-D panel had only to be penciled and inked. A 3-D panel had to have its elements separated according to which visual plane or level (fore-, middle- or background) the elements were intended to occupy. The elements had to be drawn on clear acetate cels corresponding to those levels, with the solid parts of the elements opaqued. Then the cels had to be stacked and aligned to assemble the finished panel, with enough separation between the cels to produce the desired 3-D effect. 3-D comics had another challenge as well. A 2-D panel could be elaborately colored, but the limitations of Anaglyph printing of the time dictated that the 3-D panel remain monochrome brown and white. Artists and writers The recycled stories were completely redrawn for their 3-D incarnations. The artists who redrew these were all EC regulars: Johnny Craig, Jack Davis, Bill Elder, George Evans, Graham Ingels, Bernard Krigstein, Joe Orlando and Wally Wood. Some of them had drawn the original versions of these stories, while others were interpreting them for the first time. This gives the reader with access to the originals a rare opportunity to see how different artists handled the same scripts, and how the same artists handled the same scripts to meet different requirements. The scripts were themselves at least partly rewritten. The writers were not credited but were usually either Harvey Kurtzman, the writer and editor of Frontline Combat, Two-Fisted Tales and Mad, and Al Feldstein, the editor, and writer in collaboration with Gaines, of practically every other EC comic book of the period. The 2-D covers were new to these publications and perfectly embodied their 3-D theme. The first, by Kurtzman, showed a