The first appearance of Macbeth himself in Act 1, Scene 3 as he and Banquo are returning from their recent battle, our “hero” dons a red colored tartan. Banquo pales in comparison in his earthy browns. Lady Macbeth’s first appearance is even more impressive. Her brilliant blood red dress is simple in style, but slaps you in the face with impact. With huge bell sleeves and a trail behind her about two feet she appears to be dripping wet with blood as she reads the letter from her husband. Moving into Act III, as Macbeth and his Lady appear as King and Queen, both are carrying even more layers representing this color of extreme passion. Our lady now wears the same red tartan as her husband’s over her drippy dress while her King now wears an exquisite regal bloody red robe over his. The only time these two do not appear wearing red is the scene when Duncan’s dead body is found. Both Macbeth and his Lady have changed their garments to hide the bloody evidence. They both almost look like they’re in disquise. It’s easy to lose them among the chaos without their trademark color.
Susan Gibb on 3-D thinking:
I’m thinking that the multilayers of story within a hyperfiction piece lend themselves easily to 3-D, (I’m not talking 3-D animation here, but rather still on the storyboard layout and the eventual finished piece) and I can imagine it as similar to a universe where the objects (textboxes, or images, sounds, etc) are self-contained within an object, let’s say a cube–connected to appropriate other cubes that follow a story line–that can be clicked on, would come forward and open up to be read/viewed/enjoyed. Another click would send it back into the background so that another choice can be made.