A design system built from the visual gravity of Coppola's 1972 film and S. Neil Fujita's marionette-strings book jacket: near-total black, brass-lamp warmth pooling in small islands, and a single oxblood rose bleeding through the dark. Gordon Willis lit the interiors so underexposed that critics called him the Prince of Darkness. This inherits that restraint — funereal high-contrast serifs, negative space rendered as shadow rather than emptiness, and blood-red reserved for one decisive accent. Nothing is loud. The power is in what's withheld.