Grey goo is the doomsday thought experiment K. Eric Drexler sketched in *Engines of Creation* (1986): self-replicating nanomachines that consume matter unchecked, reducing the world to an undifferentiated silver paste. Nanopunk visual culture renders this as liquid-metal chrome spreading in a hexagonal crystalline lattice across an absolute black micro-scale void — cold, reflective, endlessly tessellating. This design system distills that nightmare into interface language: brushed and mirror-polished silvers on near-black, hexagonal grid structure standing in for molecular self-assembly, and hard technical type that reads like nanofabrication readouts. Nothing warm survives contact with the swarm.