A design system pulled from the visual grammar of Christopher Nolan's *Oppenheimer* — the desert dark before dawn, the Trinity fireball blooming against a black sky, chalkboard equations glowing in a blackboard-green haze. This is IMAX black: near-total darkness punctured by incandescent orange-white light, the exact color temperature of an atomic detonation photographed on 65mm film.

Type is set like classified documents and physics lectures — condensed grotesques for headlines, typewriter mono for redacted memos, chalk-white math scrawled across dark panels. The light arrives before the sound, and the fear arrives after both. Everything sits in silence and negative space until the fireball fills the frame.