To grunge or not to grunge. Is grunge back? Maybe. Maybe it never left. Maybe it was just hiding around the corner waiting for the right time when it is needed again. We have a theory that if grunge makes a comeback, it will be vastly different than its last incarnation. The mid-to late-1990s grunge had few statements, if any, to make about society, culture and the world in general. As visually appealing as some of it was, for the most part it was form for forms sake, a misguided and mostly failed way of interpreting the old medium is the message mantra. We believe that if a new wave of grunge is to surface now, it will have to make a much more poignant and artistic statement than it did in the 1990s, when grunge was really just a quick and dirty random collaging or filter distortions done in the name of experimentation. We think the only room left for grunge design is one where it is directly and purposely wilful, not just ambiguously Kobain-esque or trendy. A pessimistic new wave of reality destructuring design would be right at home in these early years of the 21st century, with threats of war and terror raging all over the world, natural disasters, class-based prejudices, government scandals, the public collapse of confidence in PR machines, entertainment and politics, and transparencies in human behaviour becoming more obvious. No more will experimentation be a sufficient explanation for a grunge design. If grunge makes a come back, it will have to be imaginative, relevant, original, and much harder work than random collaging or a conveyor belt-based software filtering process. The two Nuke fonts were born from such reflections and hypotheses of cynicism.