:root {
/* ------------------------------------------------------------ membrane --

   Urbit and biomorphic form are not two skins to pick between. Their
   intersection is one object, and it happens to be this company's thesis: a
   CELL. A living interior, a sovereign boundary, and a strict rule about what
   crosses. Servitor is the interior. The Protocol is the membrane. "She
   proposes, your game disposes" is the crossing rule. A Soul is the cell
   crossing into a world that decides what it admits.

   So the rule for every surface on this site: light comes from INSIDE the
   boundary and bleeds outward through it. It is never a lamp above a card.
   A drop shadow says an object was placed on a table by someone; a membrane
   says something is lit from within and is holding itself together. The three
   card systems here — the memory panel, the scene plates, the deck frame —
   were all running the same `0 18px 44px -26px` drop, which made the three
   most important surfaces on the site the three most obviously constructed
   ones.

   The small dark term stays. A cell resting on a ground does occlude a little,
   and without it the surface reads as pasted rather than present. */
/* Tropism. Every membrane on this site glowed equally on all four sides, and
   nothing alive is lit that way — a living boundary facing a light source is
   bright where it faces the light and occluded opposite. Uniform symmetric
   glow is also what every generated page ships, because a box-shadow is
   symmetric unless somebody decides otherwise. Light held consistently across
   a page in one direction is what makes a design read as photographed rather
   than assembled.

   The source is not arbitrary: this world has a lantern in it. The light comes
   from above and slightly left, the way a lamp on a counter falls, and every
   surface on the page agrees about where it is. The inner highlight rides the
   lit edge, the outward bloom leans away from it, and the occlusion gathers on
   the side the light does not reach. */
--light-x: -1;
--light-y: -1;

--membrane-day:
    inset 2px 2px 0 -1px rgba(255, 253, 246, 0.9),
    inset -10px -12px 22px -20px rgba(45, 62, 52, 0.3),
    inset 0 0 70px -22px rgba(255, 243, 194, 0.95),
    -6px -4px 44px -8px rgba(224, 195, 138, 0.42),
    14px 18px 110px 4px rgba(224, 195, 138, 0.12),
    10px 16px 30px -22px rgba(45, 62, 52, 0.5);

--membrane-night:
    inset 2px 2px 0 -1px rgba(241, 232, 214, 0.14),
    inset -12px -14px 26px -22px rgba(5, 9, 6, 0.45),
    /* The lamp's light inside the card, from its side only: all round the
       inner edge at 0.34 it lit the card from within, as glass. */
    inset 14px 16px 60px -34px rgba(255, 243, 194, 0.2),
    /* Grown light, on the side the lamp does not reach. The warm source sits
       up and left (--light-x/--light-y), so the colony seeps in from down and
       right. Dimmer and further out than the made light: a fungus does not
       out-shine a sign, it creeps around it. */
    inset -20px -24px 58px -42px rgba(95, 227, 205, 0.34),
    /* No outer bloom. A card is not a lamp: the glow it threw on every side
       read as "a luminous glass panel with an outer glow — nothing in the
       scene lights it". What an object does in lamplight is cast a shadow
       away from the lamp, so that is all that falls outside it. */
    12px 18px 36px -16px rgba(5, 9, 6, 0.8),
    4px 6px 12px -6px rgba(5, 9, 6, 0.55);

/* A painting hung in the world: the lamp catches its upper-left edge and it
   throws a shadow down and right. The day membrane's bloom on the plates
   spread an even yellow halo on all four sides, "a lamp would light one
   side". The shadow list is in scenes.css, since a custom property that
   reads another resolves where it is declared, and the night darkens this
   one on the plate itself. */
--plate-shade: rgba(45, 62, 52, 0.42);

/* ------------------------------------------------- biomorphic colour ----- */

/* Colour in nature is never flat, and it shifts HUE with light — a lit surface
   runs warm where the light falls and cool where it does not. Every generated
   page reaches for a LIGHTNESS gradient instead, which is why those surfaces
   read as printed paper rather than as material.

   The membranes went phototropic last pass but the surfaces they wrap did not
   respond, so the light had a direction and the colour did not know about it.
   These two run warm at the lit corner and cool at the shadowed one, along the
   same axis the membrane already uses. The shift is about four points of hue —
   nobody will name it, and a flat fill beside one of these looks dead.

   This also replaces a tint cycle that was measured at 0.0009 apart in green,
   which is below the threshold at which a difference is a difference. Surfaces
   now vary as material rather than as three swatches. */
/* Turgor — the last structural property in the audit, and the one that costs
   no words.
   Living tissue is pressurised from the inside. A leaf, a berry, a fungal cap
   is not a flat face with a soft edge; it presses OUTWARD against its membrane
   and reads slightly convex, brightest where the surface turns toward you and
   falling off as it curves away. Every surface here has had edge light since
   the membrane pass and no face light at all, which is why they read as
   panels rather than as things.

   It is also the neon property. A tube is pressurised glass: a hot core with
   the glow falling off toward its walls. Warm made light and cold grown light
   both behave this way, so one gradient serves the whole two-source model.

   A radial laid over the directional one — the tropic shift still says where
   the light comes from, and this says the surface is full. Deliberately weak:
   about six points of lift at the crown. Nobody should see a dome; they should
   see a surface that is not flat and not be able to say why. */
/* --surface-tint is the card's own base, and the only thing a tinted card
   should change. Tinting used to mean re-declaring `background`, which is the
   shorthand — it reset background-image and threw both layers away, so three
   cards in every four lost the face light this comment spends twelve lines
   arguing for, and "a flat fill beside one of these looks dead" came true
   inside the one component that demonstrates the property. */
--surface-tint: var(--day-bg);

--surface-day:
    radial-gradient(120% 96% at 34% 22%,
        color-mix(in srgb, #fffdf4 62%, transparent) 0%,
        color-mix(in srgb, #fffdf4 22%, transparent) 38%,
        transparent 74%),
    linear-gradient(148deg,
        color-mix(in srgb, var(--honey) 13%, #fffdf4) 0%,
        color-mix(in srgb, var(--surface-tint) 94%, #fff) 46%,
        color-mix(in srgb, var(--creek) 7%, var(--surface-tint)) 100%);

--surface-night:
    radial-gradient(120% 96% at 34% 22%,
        color-mix(in srgb, var(--lantern) 8%, transparent) 0%,
        color-mix(in srgb, var(--lantern) 3%, transparent) 40%,
        transparent 76%),
    /* Moss where the lamp does not reach, not creek: the creek-teal read
       as "grey-sage, neither moss nor lantern". */
    radial-gradient(112% 90% at 84% 86%,
        color-mix(in srgb, var(--sage) 9%, transparent) 0%,
        color-mix(in srgb, var(--sage) 3%, transparent) 38%,
        transparent 72%),
    linear-gradient(148deg,
        /* Near the ground it lies on: a surface far lighter than the night
           around it read as a lit pane whatever its edges did. */
        color-mix(in srgb, var(--honey) 6%, color-mix(in srgb, var(--night-surface) 50%, var(--night-floor))) 0%,
        color-mix(in srgb, var(--night-surface) 50%, var(--night-floor)) 44%,
        color-mix(in srgb, var(--night-mid) 60%, var(--night-bg)) 78%,
        color-mix(in srgb, var(--sage) 8%, var(--night-bg)) 100%);

/* Neon, two sources, the way a street actually looks.
   Hong Kong retro signage is never one colour: warm sodium and amber stacked
   against cold cyan and jade, bleeding into humid air. And this world's night
   is overgrown — bioluminescent plants and fungal light colonising the built
   thing — which means the cold half does not come from a lamp at all. It comes
   from something alive.

   That also answers the flattest measurement anyone has taken of this site:
   the palette runs a hundred warm uses against twelve cool, with --creek at
   seven and --sage at five, which is a monochrome wearing five tokens. A
   living cold light is not a decorative accent here, it is the other half of
   the lighting model, and it is the half that stops the night reading as brown
   paper in the dark.

   Warm is made: lanterns, signage, the lamp on Maeve's counter. Cold is grown:
   sigils, spores, whatever is eating the sign. */
--neon-warm: 0 0 12px color-mix(in srgb, var(--lantern) 62%, transparent),
             0 0 34px color-mix(in srgb, var(--honey) 38%, transparent),
             0 0 72px color-mix(in srgb, var(--honey) 16%, transparent);

--neon-ink: 0 0 18px color-mix(in srgb, var(--lantern) 34%, transparent);

/* The living half. Cooler, dimmer and further out than the made light — a
   fungus does not out-shine a sign, it seeps around it. */
--biolume: 0 0 10px color-mix(in srgb, var(--biolume-core) 52%, transparent),
           0 0 30px color-mix(in srgb, var(--biolume-core) 28%, transparent),
           0 0 66px color-mix(in srgb, var(--spore) 15%, transparent);

--biolume-ink: 0 0 16px color-mix(in srgb, var(--biolume-core) 38%, transparent);

}