Color is one of the clearest ways Glass ties itself back to Unbreakable while also absorbing the more jagged visual identity of Split.
Purple, green, and yellow
The trilogy’s core color language is still intact. Elijah Price is linked to purple. David Dunn is linked to green. Kevin and the Horde carry strong yellow associations. Glass keeps those visual identities alive so the movie can feel like a true collision instead of a loose crossover.
Muted spaces, vivid identities
A lot of the film takes place in institutional spaces that flatten everything into pale walls, controlled lighting, and neutral surfaces. The effect is that the characters’ color signatures keep trying to break through that drained environment. The movie keeps staging a tug-of-war between a world that wants sameness and people whose identities insist on distinction.
Comic-book logic in the real world
Shyamalan has always been interested in what happens when comic-book ideas are treated as if they belonged to ordinary reality. The color work in Glass is part of that balancing act. It is not loud enough to turn the film into camp, but it is far too deliberate to be accidental.
That makes the visual design feel purposeful without getting gaudy. The movie knows exactly who these people are, and color is one of the ways it keeps reminding us.
On rewatch, the visual design feels even more deliberate because the movie is constantly juggling worlds that do not fully want to belong together. Comic-book identity, psychiatric control, public spectacle, private damage. The color work helps the film keep those tensions legible without constantly explaining them aloud. It is one of the quieter ways Glass holds the trilogy together.