/* ============================================================================= stimpunks.world — one street, no two rooms alike, and a campground off the end of it. The organising idea: this site has NO single design system, on purpose. Every other Stimpunks site applies one consistent look across many pages. Here the STREET is the system and the ROOMS refuse to share one. So this file is a small shared base (§1–§4) followed by one self-contained world per room (§5 onward), each free to contradict the others. The one thing every room DOES share is §3, the intensity dial. Danny the Street rearranges themselves for whoever walks down it, so loudness is a control the visitor holds, never a fixed property of the page. Who Danny is, and why they/them, is §33 and danny-the-street.html. ============================================================================= */ /* §1 ── The faces ──────────────────────────────────────────────────────────── Self-hosted, so reading a page here makes no third-party request — the same rule queering.earth and starstuff.earth follow. MOST of these families are under the SIL Open Font License and FOUR ARE UNDER APACHE 2.0 — Permanent Marker, Rock Salt, Special Elite and Ultra. This comment said "every family here is OFL-licensed" until tools/pull-foundry.py read each family's own record and found otherwise, which is what that tool is for: a licence nobody has checked since the file was added is a claim rather than a fact. fonts/_sources.json records where each file came from, and data/foundry-faces.json records who drew it and under what. @font-face is lazy: a room only downloads the faces it actually sets. */ @font-face { font-family: 'Bungee'; src: url('fonts/bungee-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Bungee Shade'; src: url('fonts/bungee-shade-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Shrikhand'; src: url('fonts/shrikhand-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Monoton'; src: url('fonts/monoton-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Rock Salt'; src: url('fonts/rock-salt-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Archivo Black'; src: url('fonts/archivo-black-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'VT323'; src: url('fonts/vt323-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Special Elite'; src: url('fonts/special-elite-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Titan One'; src: url('fonts/titan-one-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } /* Space Grotesk ships as a variable font, so Google serves ONE file for 400, 500 and 700 — it is downloaded once and declared three times against the weight axis, rather than stored three times under three names. It WAS stored three times, byte for byte, until tools/pull-foundry.py hashed the shelf and said so; on the shared base that EVERY page on the street loads that cost about 45KB. The axis is real and all three declarations earn their place — rendered out of the one file, 700 lays down 41% more ink than 400, which is the same arrangement Nunito, Cabin and Karla are in below. Do not read identical bytes as an absent bold. See fonts/_sources.json. */ @font-face { font-family: 'Space Grotesk'; src: url('fonts/space-grotesk-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Space Grotesk'; src: url('fonts/space-grotesk-400.woff2') format('woff2'); font-weight: 500; font-display: swap; } @font-face { font-family: 'Space Grotesk'; src: url('fonts/space-grotesk-400.woff2') format('woff2'); font-weight: 700; font-display: swap; } @font-face { font-family: 'Courier Prime'; src: url('fonts/courier-prime-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Courier Prime'; src: url('fonts/courier-prime-700.woff2') format('woff2'); font-weight: 700; font-display: swap; } @font-face { font-family: 'Instrument Serif';src: url('fonts/instrument-serif-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Instrument Serif';src: url('fonts/instrument-serif-400-italic.woff2') format('woff2'); font-weight: 400; font-style: italic; font-display: swap; } /* The campgrounds (§13) and the Faery Yurt (§14). Five families arriving at once, which is what it costs to open an area whose two pages are allowed to share nothing — with the street, or with each other. Alfa Slab One and Bitter are the campground's routed sign and its field-guide body; the other three are Helen's, named in her own mockup, and taking them is how the yurt stays hers. Bitter ships as a variable font, so its bold was byte-identical to its regular; the campground sets emphasis in Alfa Slab One rather than serve the same 34KB twice. See fonts/_sources.json. */ @font-face { font-family: 'Alfa Slab One'; src: url('fonts/alfa-slab-one-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Bitter'; src: url('fonts/bitter-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Cormorant Garamond'; src: url('fonts/cormorant-garamond-600.woff2') format('woff2'); font-weight: 600; font-style: normal; font-display: swap; } @font-face { font-family: 'Cormorant Garamond'; src: url('fonts/cormorant-garamond-600-italic.woff2') format('woff2'); font-weight: 600; font-style: italic; font-display: swap; } @font-face { font-family: 'Crimson Pro'; src: url('fonts/crimson-pro-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Crimson Pro'; src: url('fonts/crimson-pro-400-italic.woff2') format('woff2'); font-weight: 400; font-style: italic; font-display: swap; } @font-face { font-family: 'Caveat'; src: url('fonts/caveat-600.woff2') format('woff2'); font-weight: 600; font-display: swap; } /* The Arcade (§15), and the only face it sets. A pixel face is the one thing no other room on this street could borrow without turning into the arcade, which is what its own family is for. 4.7KB, latin only, and nothing else here loads it. */ @font-face { font-family: 'Press Start 2P'; src: url('fonts/press-start-2p-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } /* The Latibulum (§16). A soft slab and a rounded sans, which is the pair that keeps a warm brown burrow from reading like the warm brown tent two pages away: the yurt is high-contrast italic serif, this is planed and round. Nunito ships as a variable font, so Google serves ONE file for 400 and for 700 — it is downloaded once and declared twice against the weight axis, rather than stored twice under two names. See fonts/_sources.json. */ @font-face { font-family: 'Bree Serif'; src: url('fonts/bree-serif-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Nunito'; src: url('fonts/nunito-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Nunito'; src: url('fonts/nunito-400.woff2') format('woff2'); font-weight: 700; font-display: swap; } /* The Jungle Room (§17). A swollen, high-contrast display face and a humanist sans — a botanical plate and the caption under it. Yeseva One is the one face on this street whose strokes THICKEN as they curve, which is the closest type gets to something grown rather than built, and it is why this room does not sound like the two brown rooms or the cold field. Cabin ships as a variable font, so Google serves ONE file for 400 and 700; it is stored once and declared twice against the weight axis, the same as Nunito above. See fonts/_sources.json. */ @font-face { font-family: 'Yeseva One'; src: url('fonts/yeseva-one-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Cabin'; src: url('fonts/cabin-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Cabin'; src: url('fonts/cabin-400.woff2') format('woff2'); font-weight: 700; font-display: swap; } /* The Den (§18), the subroom behind the Jungle Room. A FAT 1970s SLAB and a grotesque — the weight a record sleeve was set in the year those sessions happened. It is the single thing that stops a green room reading as its own parent: upstairs sets a high-contrast serif whose strokes swell as they curve, and this sets a slab with no contrast in it at all. Karla ships as a variable font, so one file serves 400 and 700, the same as Cabin above. */ /* The Solarpunk Hermitage (§19). An organic serif and a technical sans, which is the room's whole thesis set in type: Fraunces' strokes swell and its terminals curl like something grown, and Sora is drawn on a grid with flat ends. Tech AND nature, not one of them in fancy dress. It is also the only pairing here that has to work at SIZE ON A LIGHT GROUND all the way down — every other serif on this street is cream on something dark. */ /* Club Chronic (§20). A CONDENSED display face, a marker, and a grotesque — which is a gig flyer's three voices and nothing else on this street sets any of them. Anton is condensed because a flyer crams a bill onto one sheet of A4; Permanent Marker is the pen somebody actually had on them. THE ZINE TABLE IS THE COLLISION TO WATCH and this is how they stay apart: that room is a photocopier's black on white, cut up with scissors, in Special Elite and Rock Salt. This is paste-up on a black wall — layered, not scattered — and the marker is written OVER the paper rather than being the paper. */ @font-face { font-family: 'Anton'; src: url('fonts/anton-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Permanent Marker'; src: url('fonts/permanent-marker-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Barlow'; src: url('fonts/barlow-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Barlow'; src: url('fonts/barlow-600.woff2') format('woff2'); font-weight: 600; font-display: swap; } @font-face { font-family: 'Fraunces'; src: url('fonts/fraunces-700.woff2') format('woff2'); font-weight: 700; font-display: swap; } @font-face { font-family: 'Sora'; src: url('fonts/sora-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Ultra'; src: url('fonts/ultra-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Karla'; src: url('fonts/karla-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Karla'; src: url('fonts/karla-400.woff2') format('woff2'); font-weight: 700; font-display: swap; } /* The Pebble Board (§21). Norah Hobbs's three, with two of them substituted. ATKINSON HYPERLEGIBLE IS HERS AND STAYS: it is the Braille Institute's low-vision face, so swapping the body text would be an access regression rather than a style choice, and it is the only face on this street chosen for legibility before looks. Her other two had to go, because both were already taken -- Caveat is the Faery Yurt's glimmer hint and Special Elite is the Zine Table's typewriter. A punk-paper noticeboard set in the zine's own typewriter is the collapse this street exists to refuse, and the zine is the room it would have collapsed into. Gloria Hallelujah is a felt pen rather than Caveat's brush; Josefin Sans is a filing label rather than a struck key, and nothing else here is geometric. See _typefaces in data/pebble-board.json, where the substitution is written up. */ @font-face { font-family: 'Atkinson Hyperlegible'; src: url('fonts/atkinson-hyperlegible-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Atkinson Hyperlegible'; src: url('fonts/atkinson-hyperlegible-700.woff2') format('woff2'); font-weight: 700; font-display: swap; } @font-face { font-family: 'Gloria Hallelujah'; src: url('fonts/gloria-hallelujah-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Josefin Sans'; src: url('fonts/josefin-sans-600.woff2') format('woff2'); font-weight: 600; font-display: swap; } /* The Mopery (§22), and its Raven nook. AN IMPRESSED FACE AND A DRAWN ONE. IM Fell English is Igino Marini's digitisation of the types John Fell gave the Oxford University Press in the 1670s, ink spread and battered counters left in, which makes it the only face on this street that looks STAMPED rather than drafted — an eldritch tome wants a punch, not a curve. THE FAERY YURT IS THE COLLISION TO WATCH, because that room is also serif, also warm, also candlelit: it sets Cormorant Garamond, which is high-contrast, clean and modern-cut. These two rooms are kept apart at the stroke rather than at the palette, which is the only place it holds. Spectral is the reading face — low contrast, drawn for screens, sturdy at length — because the library asks somebody to read eighteen stanzas in it and the tome face does not survive that. It is the default the Raven nook's picker starts on; every other face on this street is in that list too, which is the one place here where borrowing them all is the joke rather than the failure. */ @font-face { font-family: 'IM Fell English'; src: url('fonts/im-fell-english-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'IM Fell English'; src: url('fonts/im-fell-english-400-italic.woff2') format('woff2'); font-weight: 400; font-style: italic; font-display: swap; } @font-face { font-family: 'Spectral'; src: url('fonts/spectral-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Spectral'; src: url('fonts/spectral-600.woff2') format('woff2'); font-weight: 600; font-display: swap; } /* The Oracle Deck (§23), the subroom behind the Mopery's parlour. CUT RATHER THAN PRINTED, which is the whole distance between a deck and the library it is kept in: Cinzel is inscriptional Roman capitals — letters chiselled into stone, no lowercase worth the name, all of it monumental — where IM Fell is a page that has been through a press. Cardo is the commentary underneath, David Perry's type for classicists, and a card whose back is an argument needs a face that expects footnotes. Cinzel ships variable, so ONE file serves 400 and 700, the same arrangement as Nunito, Cabin and Karla. */ @font-face { font-family: 'Cinzel'; src: url('fonts/cinzel-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Cinzel'; src: url('fonts/cinzel-400.woff2') format('woff2'); font-weight: 700; font-display: swap; } @font-face { font-family: 'Cardo'; src: url('fonts/cardo-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Cardo'; src: url('fonts/cardo-400-italic.woff2') format('woff2'); font-weight: 400; font-style: italic; font-display: swap; } /* Swaying Sweetgrass (§25). A FLARED SERIF AND A HUMANIST SANS, and the pair is chosen against the two rooms this one is most likely to collapse into. Eczar's stems are narrow and its serifs flare out like a blade opening at the tip — it is the only face here that looks grown rather than built, which is why the meadow sets it and why it could not be the Faery Yurt's Cormorant (cut yesterday, high contrast, calligraphic) or the Jungle Room's Fraunces (strokes that swell as they turn). Alegreya Sans is a sans with a handwriting skeleton still in it, warm without being round; the burrow's Nunito is round and the campground's Bitter is squared, and neither of them leans. Two faces, both OFL, neither set anywhere else. See fonts/_sources.json. */ @font-face { font-family: 'Eczar'; src: url('fonts/eczar-600.woff2') format('woff2'); font-weight: 600; font-display: swap; } @font-face { font-family: 'Alegreya Sans'; src: url('fonts/alegreya-sans-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Alegreya Sans'; src: url('fonts/alegreya-sans-500.woff2') format('woff2'); font-weight: 500; font-display: swap; } /* The Doomscroll (§24). BLACKLETTER LIVES HERE AND NOT IN THE LIBRARY, which is deliberate and is what keeps the dark academia room off the obvious peg: the gothic cliche is spent here, on a broadside of bad news, where it is a joke about mastheads rather than a costume. UnifrakturMaguntia is DISPLAY ONLY — the masthead and the odd single word, never a line of a poem, because eighteen lines of blackletter is an access failure wearing atmosphere. The poems are set in Vollkorn, which Friedrich Althausen drew for small text on cheap paper, which is what a broadside is. Vollkorn ships variable: one file, two weights declared against the axis. */ @font-face { font-family: 'UnifrakturMaguntia'; src: url('fonts/unifraktur-maguntia-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Vollkorn'; src: url('fonts/vollkorn-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Vollkorn'; src: url('fonts/vollkorn-400.woff2') format('woff2'); font-weight: 600; font-display: swap; } /* The Adventurer's Guild (§26). A WOODTYPE FACE AND A CIVIC FORM FACE, which is the whole joke of that room set twice. Rye is the kind of type a posted bill was printed in -- cut, spurred, meant to be read off a wall -- and Public Sans is the typeface of the United States Web Design System, drawn for government forms. The guild is the one TIDY room on a street whose architecture is that nothing matches, so it is set in the type of a bill nailed up by a functioning bureaucracy. Neither family is anywhere else here; every other face on this street was already claimed by a room before this one opened. */ @font-face { font-family: 'Rye'; src: url('fonts/rye-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Public Sans'; src: url('fonts/public-sans-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Public Sans'; src: url('fonts/public-sans-700.woff2') format('woff2'); font-weight: 700; font-display: swap; } /* THE FEED (§27). Michroma is the nameboards and the h1 and NOTHING ELSE: it is a very wide squared face, which is what machined signage looks like and what a paragraph of text must never be -- the Doomscroll's blackletter lesson, in a room whose whole subject is lettering in cells. Space Mono is the rows, the dates and the plates, because a split-flap board is a grid of cells with one character in each and a monospace is that grid. It is the FOURTH mono here and the first squared one: Courier Prime is the zine's typewriter, Special Elite is its battered cousin, VT323 is the quantum room's phosphor. The room's prose is Space Grotesk, which is Space Mono's own relative and is already this file's --sans, so the reading voice in here is the street's ordinary one and only the MACHINE has an accent. */ @font-face { font-family: 'Michroma'; src: url('fonts/michroma-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Space Mono'; src: url('fonts/space-mono-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Space Mono'; src: url('fonts/space-mono-700.woff2') format('woff2'); font-weight: 700; font-display: swap; } /* The Garden (§28). TWO TEXT FACES AND NO DISPLAY FACE AT ALL, which is this room's one structural claim about type: every other world on this street has something that shouts -- a woodtype, a condensed grotesque, a fat slab, a blackletter, a pixel face -- and a garden has no signage in it. It has LABELS. So Faustina sets the garden's own name at size and the label on every bed in the same breath, because a nursery writes both with the pen it has, and the loud things in this room are the plants. Faustina ships as a variable font, so one file serves 400 and 600 against the weight axis, the same as Nunito and Cabin above; its italic is a second file because a slanted variable axis is not an italic. Mulish carries the notes -- round, open, tall-x, which is what a bright day does to letters. Neither face is set anywhere else. See fonts/_sources.json. */ @font-face { font-family: 'Faustina'; src: url('fonts/faustina-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Faustina'; src: url('fonts/faustina-400.woff2') format('woff2'); font-weight: 600; font-style: normal; font-display: swap; } @font-face { font-family: 'Faustina'; src: url('fonts/faustina-400-italic.woff2') format('woff2'); font-weight: 400; font-style: italic; font-display: swap; } @font-face { font-family: 'Mulish'; src: url('fonts/mulish-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Mulish'; src: url('fonts/mulish-400.woff2') format('woff2'); font-weight: 700; font-display: swap; } /* The Zibaldone (§29). THREE TEXT FACES AND ONE HAND, and the division between them is enforced by tools/make-zibaldone.py rather than left to taste: the hand writes margins, labels and the keeper's asides, and NEVER a quotation. A passage set in a handwriting face is an access failure wearing atmosphere, which is the lesson The Doomscroll already carries one room over, where blackletter sets the masthead and not one line of a poem. A quote bank is where that mistake would look most charming. The three are chosen by era, because that is what a commonplace book looks like: lines copied out of books that were set at different times. EB Garamond for the oldest, Newsreader for the nineteenth century, Lora for the living. EB Garamond ships as a variable font, so one file serves 400 and 600 against the weight axis -- Faustina's arrangement, and the reason there is no second 44KB on disk. Kalam is the hand. None of the four is set anywhere else on the street. See fonts/_sources.json. */ @font-face { font-family: 'EB Garamond'; src: url('fonts/eb-garamond-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'EB Garamond'; src: url('fonts/eb-garamond-400.woff2') format('woff2'); font-weight: 600; font-style: normal; font-display: swap; } @font-face { font-family: 'EB Garamond'; src: url('fonts/eb-garamond-400-italic.woff2') format('woff2'); font-weight: 400; font-style: italic; font-display: swap; } @font-face { font-family: 'Newsreader'; src: url('fonts/newsreader-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Newsreader'; src: url('fonts/newsreader-400-italic.woff2') format('woff2'); font-weight: 400; font-style: italic; font-display: swap; } @font-face { font-family: 'Lora'; src: url('fonts/lora-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Lora'; src: url('fonts/lora-400-italic.woff2') format('woff2'); font-weight: 400; font-style: italic; font-display: swap; } @font-face { font-family: 'Kalam'; src: url('fonts/kalam-400.woff2') format('woff2'); font-weight: 400; font-display: swap; } @font-face { font-family: 'Kalam'; src: url('fonts/kalam-700.woff2') format('woff2'); font-weight: 700; font-display: swap; } /* The Rabbit Hole (§30). A DIDONE AND A GEOMETRIC SANS, which is a pair nobody else on this street sets, and the two halves of what this room is about. Playfair Display is the 1865 book: high contrast, hairline serifs, the register a Victorian title page was cut in -- so it sits with Tenniel's wood engravings instead of fighting them. THIS IS NOT THE MOPERY'S SERIF AND THE DIFFERENCE IS THE STROKE. IM Fell English was PUNCHED, with the ink spread and the counters battered; this was DRAWN, with a mechanical thin and a clean joint. One is a book that was beaten into paper and the other is a book that was engraved, which is the only place two warm-serif rooms on one street can be kept apart. Jost is the wiki rabbit hole: a geometric sans, circles and straight lines, the face a node-and-arrow diagram is labelled in. Our own glossary entry illustrates the thing with a network diagram of linked topics, and this is what that drawing sounds like. Josefin Sans one room over is also geometric and is the Pebble Board's -- it is set there only as small letter-spaced caps, with a tiny x-height and a very high waist; this is a reading face at reading size. Neither of these two is set anywhere else. See fonts/_sources.json. */ @font-face { font-family: 'Playfair Display'; src: url('fonts/playfair-display-700.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } @font-face { font-family: 'Jost'; src: url('fonts/jost-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Jost'; src: url('fonts/jost-500.woff2') format('woff2'); font-weight: 500; font-style: normal; font-display: swap; } /* The Healing Checkpoint (§31). TWO ROUNDED FACES, because it is the only room on this street with no hard edge in it -- and the crowding is real enough to be written down rather than hoped about. Quicksand is DISPLAY ONLY and is set nowhere at reading size: the plaque, the headings, the tagline, the slip labels and the buttons. It is the third geometric sans here and the other two are one section apart, so the division has to be a job rather than a shape. Jost is The Rabbit Hole's READING face, at reading size, doing the work Rubik does here; Josefin Sans is the Pebble Board's and is set only as small letter-spaced caps with a tiny x-height. What separates Quicksand from either is the terminal: its strokes end in true semicircles, which is why it can carry a room whose every border is a gradient and whose every corner is a long radius. Neither of the others could, and nothing else here is round. Rubik is the text face. THE LATIBULUM IS THE COLLISION TO WATCH, because that room also sets a rounded sans -- but Nunito is a HUMANIST face with soft, nearly drawn terminals, paired there with a slab, and this is a GROTESQUE whose corners are eased and whose terminals are cut flat. Two warm-shaped text faces kept apart at the stroke, which is the only place they could be, the way IM Fell English and Cormorant Garamond are. The rooms themselves have nothing in common: one is brown lit plaster and this is green-black wet stone. See fonts/_sources.json. */ @font-face { font-family: 'Quicksand'; src: url('fonts/quicksand-700.woff2') format('woff2'); font-weight: 500; font-style: normal; font-display: swap; } @font-face { font-family: 'Quicksand'; src: url('fonts/quicksand-700.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } @font-face { font-family: 'Rubik'; src: url('fonts/rubik-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Rubik'; src: url('fonts/rubik-400.woff2') format('woff2'); font-weight: 500; font-style: normal; font-display: swap; } /* The Foundry (§32). A STENCIL AND A WORKHORSE, which is the one pairing a room full of other people's typefaces is allowed: its own voice has to be quiet enough not to argue with what is in the window. Stardos Stencil sets the nameplate and the headings and nothing else. A stencil is THE ONE LETTERFORM ON THIS STREET THAT IS A HOLE RATHER THAN A MARK -- a shape cut out of metal so it can be used again, which is the whole idea of type -- and it is what gets painted on a workshop's crates and machinery. Anton is the street's other condensed display face and belongs to Club Chronic: that one is solid, on a black wall, pasted up under a marker. Work Sans is the prose, and it is a workhorse on purpose. Two files, two real weights -- where many of the families on the shelves in that room are variable fonts declared twice against one file, which is a different way of holding two real weights and NOT a lesser one. This comment used to say that was exactly why the bench offered a weight only where the bytes differ; the bytes were the wrong thing to ask about, since the browser instances the file's own axis at every declaration. The bench offers both, and tools/check-weights.py renders them to be sure they differ. See fonts/_sources.json. */ @font-face { font-family: 'Stardos Stencil'; src: url('fonts/stardos-stencil-700.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } @font-face { font-family: 'Work Sans'; src: url('fonts/work-sans-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Work Sans'; src: url('fonts/work-sans-600.woff2') format('woff2'); font-weight: 600; font-style: normal; font-display: swap; } /* Danny the Street (§33). ONE FACE, AND IT IS THE ROAD'S OWN. Overpass is drawn from the lettering on American highway signs -- the FHWA series, which exists to be read at speed, from a long way off, by somebody who is doing something else at the time -- so it is the only family on this street whose whole reason for existing is being painted onto or bolted above a road. It sets the nameplate, the road legends and the dates, and nothing else. THE PROSE IN THAT ROOM IS THE BASE'S SPACE GROTESK, which makes it the only room here that sets a display face and no text face of its own. The Garden is the exact inverse -- two text faces and no display face at all, because a garden has labels and no signage -- and the pair of them is the whole range this street's type play has in it. Under the SIL Open Font License. See fonts/_sources.json. */ @font-face { font-family: 'Overpass'; src: url('fonts/overpass-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Overpass'; src: url('fonts/overpass-700.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } /* The Outskirts (§34). ONE FACE, AND THE SHARED BASE UNDER IT, which is Danny the Street's arrangement arriving in an area rather than a room -- and for a related reason, since both are about a road. Bowlby One SC is fat, rounded, slightly irregular small capitals, and it is here because that is what lettering looks like when somebody has painted it onto a board by hand, at size, to be read from a moving car. It sets the turning boards, the numbers and the h1. Everything else out there is the base's Space Grotesk. IT IS NOT THE CAMPGROUNDS' ALFA SLAB, and the difference is the whole separation between this street's two areas: a campground sign is ROUTED -- cut into wood by a machine, even-weighted, official, maintained by somebody. A sign out here is PAINTED, by whoever owned the premises, once, a while ago. Under the SIL Open Font License. See fonts/_sources.json. */ @font-face { font-family: 'Bowlby One SC'; src: url('fonts/bowlby-one-sc-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } /* Black Leather Lagoon (§35). A DRIPPING POSTER FACE AND A PLAIN GROTESQUE, and the rule between them is the one the Doomscroll already wrote down: Creepster sets the h1 and the bill and NOTHING ELSE. A drippy horror face is an access failure the moment it carries a sentence, and this is the room most likely to talk itself into one, because every inch of the subject matter is asking for it. Eighteen lines of it would be atmosphere paid for out of somebody else's ability to read the page. CHIVO IS A NORMAL-WIDTH GROTESQUE ON PURPOSE. The obvious face for the small print on a monster-movie bill is a CONDENSED gothic, and Club Chronic has set Anton three doors up since it opened -- so the obvious choice would have borrowed the face of the one room on this street that this one must not collapse into. Both are music rooms with a rack of records in them; the separation has to start at the type and hold all the way down. Chivo is drawn for newspaper text, which is what a cinema listing actually was. Under the SIL Open Font License. See fonts/_sources.json. */ @font-face { font-family: 'Creepster'; src: url('fonts/creepster-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Chivo'; src: url('fonts/chivo-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Chivo'; src: url('fonts/chivo-700.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } /* Sithen (§36). A THIN FACE AND A PLAIN ONE, which is a pairing this street has never had. Italiana is very light and very high-contrast, and it is here because EVERY OTHER DISPLAY FACE WE HOLD IS HEAVY -- a woodtype, a fat slab, a condensed grotesque, a pixel face, a dripping poster face, a rounded painted capital. The one room on the street that is cold, thin and made of frost and thorn had nothing to set itself in. It takes the h1 and the headings and nothing else. LITERATA IS DELIBERATELY WITHOUT ATMOSPHERE. It is a serif drawn for reading on screens, and this room is mostly a LIST OF RULES -- the argument being that rules of this kind are never written down plainly, so the one place they ARE written down plainly ought to look like it means it. A fae room is under constant pressure to set its body copy in something uncial and unreadable; that is the Doomscroll's blackletter problem arriving in a hill. Under the SIL Open Font License. See fonts/_sources.json. */ @font-face { font-family: 'Italiana'; src: url('fonts/italiana-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Literata'; src: url('fonts/literata-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Literata'; src: url('fonts/literata-700.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } /* Covenstead (§37). TWO PLAIN FACES AND NOTHING THAT SHOUTS, which is an argument rather than a shortage. The Discworld witches this room is partly built on are practical, domestic and unglamorous -- the work is boots, tea and going to the people nobody else goes to -- so a room about that which set itself in something gothic, uncial or carved would be contradicting its own page in the typeface. Petrona is a workhorse text serif with a little roughness left in it, pushed up to display size for the headings; Asap carries everything else and has no mystique in it at all. IT IS NOT THE GARDEN'S MOVE. That room sets no display face whatsoever because a garden has labels and no signage. This one HAS a display face and has deliberately chosen an ordinary one, which is a different claim: not "there is no signage here" but "the sign is the same as everybody else's". Under the SIL Open Font License. See fonts/_sources.json. */ @font-face { font-family: 'Petrona'; src: url('fonts/petrona-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Petrona'; src: url('fonts/petrona-700.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } @font-face { font-family: 'Asap'; src: url('fonts/asap-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Asap'; src: url('fonts/asap-700.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } /* Looming Rocks Amphitheatre (§38). A PAINTED SLAB AND A PLAIN GROTESQUE. Bevan has the weight of a board bolted to a rock face and repainted every few years, which is what the signage at an outdoor venue actually is. It is the FOURTH heavy slab this street holds and they are told apart by era and by making rather than by weight: the campgrounds' Alfa Slab One is ROUTED into wood by a machine and maintained by somebody; The Den's Ultra is a 1970s record sleeve; The Latibulum's Bree Serif is soft carpentry in a burrow. This one is paint on a board out in the weather. Archivo carries everything else and is deliberately ordinary, because most of this room is a RUNNING ORDER -- names, dates and runtimes, at small sizes, in the dark. A face with character in it would be fighting the rocks, which are the only thing here that is allowed to be monumental. Under the SIL Open Font License. See fonts/_sources.json. */ @font-face { font-family: 'Bevan'; src: url('fonts/bevan-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Archivo'; src: url('fonts/archivo-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Archivo'; src: url('fonts/archivo-700.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } /* Dead Tired Society (§40). A CHARTER FACE AND A FACE BUILT AGAINST FATIGUE. Sorts Mill Goudy sets the society's name and its headings and nothing at reading size: a revival of Goudy's Oldstyle, which reads like a founding charter, and that is the joke -- the grandest name on the street, set like an institution's, for a society whose members are lying on the floor. THE MOPERY IS THE COLLISION THE NAME INVITES, because Dead Poets Society is the film dark academia is named after, so the division is the stroke and the job: IM Fell is punched and battered and carries that room's whole text; this is smooth, soft and American, and is never set as a paragraph. Its italic is kept for the society's one line of Latin-flavoured pomp and for nothing else, because the yurt owns high-contrast italic serifs and this must not start looking like it. Lexend carries every word that is read. It was drawn to reduce visual stress and ease reading fatigue, which is the whole reason a room for the dead tired sets it: the face does some of the work so the reader does not have to. One variable file, declared twice against the weight axis. Under the SIL Open Font License. See fonts/_sources.json. */ @font-face { font-family: 'Sorts Mill Goudy'; src: url('fonts/sorts-mill-goudy-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Sorts Mill Goudy'; src: url('fonts/sorts-mill-goudy-400-italic.woff2') format('woff2'); font-weight: 400; font-style: italic; font-display: swap; } @font-face { font-family: 'Lexend'; src: url('fonts/lexend-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Lexend'; src: url('fonts/lexend-400.woff2') format('woff2'); font-weight: 600; font-style: normal; font-display: swap; } /* Laughingstock (§41). A SIGN-WRITER'S SCRIPT AND A GROTESQUE MADE OF ODDMENTS. Yellowtail is the letterform a neon tube is bent into, and it sets the club's name, the comics' names and nothing you have to read: a script carrying a sentence is an access failure wearing atmosphere, which is the Doomscroll's blackletter rule arriving at a comedy club, where every inch of the subject is asking for a script. Monoton is the Chappell's and Shrikhand is the dancefloor's; this is neither a tube face nor a fat one, it is a HAND, which is what a neon sign is copied from. Under the Apache License 2.0. Bricolage Grotesque carries everything that is read. Mathieu Triay drew it out of the mismatched grotesques in old French specimen books, and bricolage is making do with whatever is to hand -- which is most of a disabled person's day and a good deal of what that room's comedy is about. One variable file, declared twice against the weight axis. Under the SIL Open Font License. See fonts/_sources.json. */ @font-face { font-family: 'Yellowtail'; src: url('fonts/yellowtail-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Bricolage Grotesque'; src: url('fonts/bricolage-grotesque-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Bricolage Grotesque'; src: url('fonts/bricolage-grotesque-400.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } /* The Lightbulb Picture House (§42). A FASCIA FACE AND AN EVEN ONE. Limelight is the Art Deco display letter cut into a 1930s picture house's front, and it sets the house's name, the screen numbers, the headings and the running numbers on the rack -- nothing at reading size. It is not the Chappell's Monoton, which is a neon tube, nor Laughingstock's script, which is a sign- writer's hand: it is carved. Outfit carries everything that is read: open, even and unfussy, because a relaxed screening is for people who came to understand something and the face should not be one more thing to get past. One variable file, declared twice. Both under the SIL Open Font License. See fonts/_sources.json. */ @font-face { font-family: 'Limelight'; src: url('fonts/limelight-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Outfit'; src: url('fonts/outfit-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Outfit'; src: url('fonts/outfit-400.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } /* Dance, Punks (§43). A WIDE FACE AND A PLAIN ONE. Unbounded sets the name, the headings and the channel labels: very wide, round-shouldered and heavy, which is what gets printed on a wristband or a headset's own casing, and nothing at reading size. It is not Club Chronic's condensed face -- a flyer crams a bill onto a sheet, and this is the opposite shape: a lot of room, and the letters taking it. Manrope carries everything that is read. One variable file each, declared at both weights, as Outfit and Lexend already are here. Both under the SIL Open Font License. See fonts/_sources.json. */ @font-face { font-family: 'Unbounded'; src: url('fonts/unbounded-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Unbounded'; src: url('fonts/unbounded-400.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } @font-face { font-family: 'Manrope'; src: url('fonts/manrope-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Manrope'; src: url('fonts/manrope-400.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } /* The Small Hours (§44). A ROADSIDE SIGN AND A MENU BOARD. Righteous is the rounded, streamlined lettering bolted along the top of a mid-century diner, and it sets the name, the sign and the headings, nothing at reading size. Libre Franklin carries everything that is read: a plain American gothic, the letter a menu board and a till receipt have always been set in. Righteous is one weight; Libre Franklin is one variable file declared at two. Both under the SIL Open Font License. See fonts/_sources.json. */ @font-face { font-family: 'Righteous'; src: url('fonts/righteous-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Libre Franklin'; src: url('fonts/libre-franklin-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Libre Franklin'; src: url('fonts/libre-franklin-400.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } /* The Repeater (§45). A CALL SIGN AND A MANUAL. Syncopate is a wide geometric face drawn in capitals only, which is how a call sign is printed across the top of the card radio operators send each other to confirm a contact; it sets the name, the headings and the call on each card, nothing at reading size. IBM Plex Sans carries everything that is read: an engineer's sans, the letter of a well-made equipment manual. Syncopate is two static files, under the Apache License 2.0 -- read off its own record, not assumed; the first draft of this comment said OFL. Plex Sans is one variable file declared at two weights, under the SIL Open Font License. See fonts/_sources.json. */ @font-face { font-family: 'Syncopate'; src: url('fonts/syncopate-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Syncopate'; src: url('fonts/syncopate-700.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } @font-face { font-family: 'IBM Plex Sans'; src: url('fonts/ibm-plex-sans-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'IBM Plex Sans'; src: url('fonts/ibm-plex-sans-400.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } /* Nothing For Sale (§46). A MARKER ON CARDBOARD AND A PLAIN BODY. Patrick Hand is the neat capitals somebody writes on a cardboard sign propped against a table, and it sets the name, the headings and the sign on each table: short labels, never a sentence, because a passage in a handwriting face is an access failure (the Zibaldone's rule about Kalam). It is not Club Chronic's marker, which is scrawled over a wall of paper; this is careful, one sign each. Figtree carries everything that is read. Patrick Hand is one weight; Figtree is one variable file declared at two. Both under the SIL Open Font License, read off their records rather than assumed. See fonts/_sources.json. */ @font-face { font-family: 'Patrick Hand'; src: url('fonts/patrick-hand-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Figtree'; src: url('fonts/figtree-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Figtree'; src: url('fonts/figtree-400.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } /* Samefood Cafe (§47). A FACE CUT FROM ONE MOULD AND A FACE WITH NOTHING HIDDEN IN IT. Fredoka sets the cafe's name, its headings, the specials line and the names on the regulars' trays, and nothing at reading size: round, fat, soft, and every stroke ends in the same curve, which is what a melamine plate looks like when every one of them came out of the same mould. It is NOT the Healing Checkpoint's rounded sans (Rubik is squared-off and game-like) and it is not a hand -- nothing in this room was written by anybody in a hurry. Inclusive Sans carries every word that is read. Olivia King drew it for legibility, so that no letter can be taken for another -- a capital I, a lower l and a 1 all differ -- which is this room's one rule arriving at the level of the alphabet: nothing on the plate is hidden in anything else, and nothing on the page is either. ITS ITALIC IS NOT SHIPPED: it is a sloped roman, the same drawings leaned, and check-weights.py refused it as a style that does nothing -- correctly, since a slant has the roman's ink and advance. So the room sets titles upright and turns font-synthesis off, rather than letting the browser invent a slant the Foundry would then be lying about. Both faces are one variable file declared against more than one weight. Under the SIL Open Font License. See fonts/_sources.json. */ @font-face { font-family: 'Fredoka'; src: url('fonts/fredoka-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Fredoka'; src: url('fonts/fredoka-400.woff2') format('woff2'); font-weight: 600; font-style: normal; font-display: swap; } @font-face { font-family: 'Inclusive Sans'; src: url('fonts/inclusive-sans-400.woff2') format('woff2'); font-weight: 400; font-style: normal; font-display: swap; } @font-face { font-family: 'Inclusive Sans'; src: url('fonts/inclusive-sans-400.woff2') format('woff2'); font-weight: 700; font-style: normal; font-display: swap; } /* §2 ── Ground rules ───────────────────────────────────────────────────────── Deliberately thin. Anything that belongs to a room belongs in that room. */ :root { --ink: #15121f; --ink-2: #241d33; --ink-3: #4a3f67; --pink: #FF2D95; --hot: #FF3D9A; --orange: #FF8A00; --yellow: #FFE100; --green: #22E06A; --cyan: #00D4FF; --violet: #AC5BFF; --red: #C4002B; --blue: #1770C2; --violet-deep: #7B28DD; --cream: #FFF3E6; --paper: #EDEAE2; --chalk: #c8bfe0; --sans: 'Space Grotesk', ui-sans-serif, system-ui, sans-serif; /* The Chappell (§12). Its own five, because a subroom that borrowed the dancefloor's palette would be the harmonising instinct getting in through the side door it was told not to use. --nave is the ground; the glass colours are decorative only and never carry text. */ --nave: #1A0A33; --niche: #170A2B; --glass: #0E0520; --leaf: #F0C453; --ruby: #8B0E33; --sapphire: #14406E; --emerald: #0E5C3A; --amethyst: #5B2A8F; /* The Campgrounds (§13). Cold dusk: spruce dark, bone, lichen, one moon. The street is night-black under neon; this is night-blue under nothing. */ --dusk: #0E1A18; --spruce: #13241F; --bark: #2A3A31; --bone: #EFE9DC; --lichen: #C6D2C4; --moss: #8FAE88; --moon: #E7D9A8; /* The Faery Yurt (§14), Helen's, and warm on purpose where the campground it is pitched on is cold — you walk in out of the night air. --tallow-3 is the ONE value of hers this file changed: her #8a7462 measured 4.30 on the tent ground and 3.61 on the canvas, and it carries the eyebrow, the shelf note, the window hint, the pet cards and the footer. See check-contrast.py. */ --hearth: #150F0E; --tent: #1B1310; --canvas: #241A16; --canvas-2: #2C1F19; --timber: #3A2A20; --tallow: #F2E6D4; --tallow-2: #C2AC91; --tallow-3: #A4907B; --ember: #E0904A; --ember-2: #F2B673; --ivy: #6D8A56; --ivy-2: #38491F; --candle: #E9C874; /* The Arcade (§15). Coin-op at midnight, and the only room here lit by a screen rather than by a sky, a candle or a strip light. --crt-lit is not a colour anybody chose: it is what --crt becomes under the scanlines, and it is the ground the playfield's own type actually sits on. The cabinet's spill over the carpet makes a second one. Both are in check-contrast.py, because a flat background is never what the text is on. */ --carpet: #160A26; --cab: #241038; --crt: #06171C; --coin: #FFC21A; --mint: #4BF0C6; --zap: #FF6BE4; --tube: #B9C6D6; --tube-2: #9AA7BA; /* The Arcade's second screen: a kelp bay, and the only water on this street. Two grounds, because the shoal is lighter than the deep, and everything is measured against what the scanline makes of the LIGHTER one -- #133947 -- since that is the harder of the two. --pelt is the otter you steer and is held to the body threshold rather than the 3:1 graphics one: a thing you drive is not decoration. See check-contrast.py. */ --bay: #06202A; --shoal: #0A3240; --pelt: #D29A6B; --whiskers: #F0D6B4; --kelp: #6FB050; --kelp-2: #7ABF5A; --fishy: #CFE2F2; --cobble: #A9BAC6; --shelly: #E8D6B6; --urchin: #B79AE0; /* The Arcade's third screen: a shore under overcast, and the only PALE screen in the room. Which is a different contrast problem from the other two -- everything on a shingle beach is a mid-tone, including the shingle, so the objects here are carried by their OUTLINE rather than by their fill. That is what --pen-dark is: it draws every pebble, every penguin and every nest, and it is what check-contrast.py measures against the three grounds. A fill is then checked against the outline that surrounds it. See the note there; it is the honest reading of WCAG 1.4.11, which asks about adjacent colours rather than about fills. */ /* The Latibulum (§16). Under the hill: an earth ground with a lamplit PLASTER wall on it, which is the one structural difference that stops a warm brown burrow from becoming the Faery Yurt. The yurt reads cream on dark all the way down; here almost every word sits dark on a lit wall, and the dark ground is what is left over around it. --glow-lamp is not a colour anybody chose: it is --lamp at .16 over --loam, the brightest the lamp pool gets, and it is the ground the copy on the earth actually sits on. check-contrast.py holds every ink against it as well as against the flat colour, the same way the Chappell is held against its rose window. */ --loam: #241B12; --burrow: #2E2317; --recess: #17120C; --plaster: #E8D8BC; --plaster-2: #D8C5A3; --umber: #3A2A1C; --umber-2: #5A4230; --oat: #EFE4D2; --oat-2: #C9B99F; --lamp: #F0C36B; --door: #2F5A3C; --rust: #8A3A1E; --beam: #7A5330; --brass: #E3BB6A; --sky: #D6DFE4; --sea: #8FA9B8; --shingle: #B4AEA5; --pen-dark: #1E2833; --pen-light: #F7FAFB; --beak: #E07B1F; /* WHAT IS LEFT OF A PALETTE THE ROOM OUTGREW. The pebbling cabinet once kept its six carryable things here; then the room decided every fill had to clear 4.5 against the outline that draws it, which squeezed them all light, and the new values went into pebbling.js beside the shapes they fill. The dark originals sat on in :root afterwards, declared and painted nowhere — a palette that looked like the source of truth and had not been true since. They are gone. The colours the game actually paints are every one of them in check-contrast.py, measured against that outline. --peb-press is the survivor, and it was misnamed: it is the START button's hover ground, NOT the sea glass, which is a different green in the game. */ --peb-press: #1F6B55; /* The Jungle Room (§17). Wet, warm, closed over the top. The campgrounds is night-BLUE under nothing; this is night-GREEN under a roof of leaves, and that difference is the whole reason the two can stand on the same street. --shaft is not a colour anybody chose: it is --sun at .12 over --canopy, which is the brightest a light shaft gets, and it is the ground every word on the forest floor actually sits on. --shaft-2 is the same light falling on an --understory panel. Both are in check-contrast.py, because the flat background is never what the type is on. --palm draws leaves and nothing else, so it is held to the 3:1 graphics bar rather than the body one. */ --canopy: #06180F; --understory: #0B2415; --buttress: #143A24; --litter: #1C2A14; --daylight: #EDF6E2; --sap: #BFD6AC; --palm: #57A05C; --heliconia: #FF8557; --sun: #F5D06B; --orchid: #E98AD2; /* The Den (§18). Graceland's Jungle Room, which is a den panelled in dark wood with a bright green shag carpet in it — and THE GREEN IS THE LIGHT HERE rather than the dark, which is the one structural thing keeping this off its own parent. Upstairs the green IS the darkness and the light comes down from above; down here the room is brown, the carpet is the brightest thing in it, and it is underfoot. --glow-lamp-den is nobody's choice either: --tiki at .14 over the panelling, the brightest a low lamp gets, and every ink on the wall is held against it. --rum and --stone carry no text; they are the red corner lamp and the fieldstone, and they are measured at the graphics bar because a room is not decoration. */ --panel: #241508; --teak: #3C2412; --stone: #A06A4E; --shag: #63B441; --shag-2: #57A438; --coconut: #F6ECD9; --rattan: #CBB392; --cocoa: #1E1107; --cocoa-2: #35210F; --tiki: #F0B040; --jade: #37C9A4; --rum: #F2705A; /* The Solarpunk Hermitage (§19). NAMES NOT SHARED WITH ANYBODY: --sprout and --daysky rather than the obvious --leaf and --sky, because both of those were ALREADY DECLARED in this block -- --leaf is The Chappell's gold leaf and --sky is the pebbling shore's overcast. A custom property declared twice in one :root is last-wins and silent, so for as long as this room used those names it was repainting a gold room green and a grey sky blue, in two rooms nobody was looking at. check-classes.py refuses a duplicate now. THE FIRST DAYLIT ROOM ON THIS STREET, and that is the whole of its separation from everything else here: every other world is a dark ground with light put on it, and this one is a lit ground with things standing in it. --noon is sunlight on a lime-plastered wall. --furrow is the ink, a green-black rather than a black, because nothing outdoors is actually black. AND THE CAVE INSIDE IT IS THE HARD PART. A deep red reading room is the fourth warm enclosed space on this street, after the yurt, the burrow and the den, and the three of those are each lit by ONE flickering source in the dark. This one is EVENLY LIT — that is what the panels on the roof are for — and the candles are decoration rather than the supply. It is also made of textile where the others are made of canvas, earth and panelling: no wood, no carpentry, no straight edge but the shelves. --velvet-lit is nobody's choice: it is --wick at .05 over the velvet, the brightest the even light makes it, and every ink down there is held against it as well as against the flat colour. See check-contrast.py. */ --noon: #F7F3E6; --noon-2: #ECE6D2; --daysky: #BCDDEA; --daysky-2: #E4F0F1; --furrow: #16291C; --furrow-2: #34483A; --sprout: #2C6B45; --sprout-2: #1D4D30; --bloom: #B5760A; --cedar: #9A6A3C; --cell: #12323C; /* Club Chronic (§20). A BLACK WALL WITH PAPER STUCK TO IT, which is the one shape nothing else here has: every other room is a ground with things drawn on it, and this is a ground with things GLUED on, overlapping, in layers, going back years. --brick is the wall; --paste is flyer stock and is the room's second ground, carrying dark type the way the Latibulum's plaster does — but that burrow is a lit wall you stand inside and this is a hundred small rectangles pasted onto a dark one, which is a collage and not a room. --marker is the pen that went over the top of all of it, and is the only colour here that is not either black or paper. --stage-lit is nobody's choice: --marker at .07 over --brick, which is the wash the one working bulb puts on the wall, and what the type near the stage actually sits on. */ --brick: #131113; --brick-2: #1E1B1E; --grime: #2A262A; --paste: #E9E4D6; --paste-2: #CFC8B6; --newsprint: #A8A296; --marker: #D8FF3A; --siren: #FF5A5A; --bootblack: #0B0A0B; --staple: #6E6A60; --stage-lit: #212216; --velvet: #4A1220; --velvet-2: #5E1A2B; --velvet-3: #380C18; /* The campfire's furniture. THE BAGS ARE BRIGHT AND THEREFORE CANNOT CARRY THEMSELVES: every one of them measured under 2.3 against the rug, which is a chair you cannot pick out of the carpet. So EVERY OBJECT IN THIS SCENE IS CARRIED BY ITS OUTLINE — --furrow, against the rug on one side and against the fill on the other — which is the pebbling cabinet's reading of WCAG 1.4.11 arriving in a room with furniture in it. The one exception is the television, which is dark enough to separate from the rug on its own and would only be muddied by a dark line around it. */ --turf: #3F8E4C; /* The three chairs' colours are NOT here: each bag carries its own hex inline, out of data/hermitage.json, and `.bag` reads `var(--bag)` singular, which only ever exists on the element. Three --bag-N properties sat here referenced by nothing until 2026-09-21, and they were lighter than the colours the page uses — which is how check-contrast.py came to be testing a palette that has never rendered, and passing. A dead declaration is not harmless when something else is checking against it. */ --bakelite: #2A2621; --bakelite-2: #7E7466; --bigscreen-off: #0C1110; --bigscreen-lit: #F1EFE4; --bigscreen-dim: #A9B4AB; --wick: #F6E8D0; --wick-2: #DCC49C; --gilt: #E9C270; /* The Pebble Board (§21). TWO PALETTES IN ONE ROOM ON PURPOSE, and the seam between them is the whole object: the street's night on the outside of the glass, and NORAH HOBBS'S PAPER on the inside, lit by one lamp. The fixture is ours and stays across every edition; the paper is hers and is replaced whole. Her values are carried over unmeasured-by-us and then measured -- every one clears the body threshold, and the only pair that does not is the cover slug, which is 18px of Gloria Hallelujah at 4.41 and is registered as large text with its size written into the entry rather than nudged darker. See the note beside it in check-contrast.py. */ --pbnight: #14120F; --pbframe: #2E4640; --pbframe-lit: #486A61; --pbcork: #6B4F35; --pblamp: #F6E3B8; --pbchalk: #C9C2B4; --pbplate: #B99B55; --pbplate-ink: #1B1509; --pbpaper: #EDE3CC; --pbpaper-deep: #E3D6B8; --pbcard: #FBF8F1; --pbink: #2B2621; --pbink-soft: #574F46; --pbline: rgba(43,38,33,0.16); /* #8A6D2F until 2026-09-21, which measured 4.41 on --pbgold-bg and was the closest thing on this street to a pass: nine hundredths short at 18px, and invisible to a pair list that had rounded it the friendly way. Darkened until it clears, hue and saturation untouched. */ --pbgold: #866A2E; --pbgold-bg: #FFF3D0; --pbmem: #322D27; --pbmem-card: #3D3730; --pbmem-ink: #DED6C6; --pbmem-head: #F3EDDF; --pbmem-credit: #C7BEB0; --pbmem-gold: #C9A227; --pbmem-link: #D4AF37; /* The Mopery (§22). A COLD ROOM WITH WARM POINTS IN IT, and that sentence is the entire separation from the four warm enclosed rooms this street already has. The Faery Yurt, The Latibulum, The Den and the Hermitage's cave are each lit THROUGHOUT by one warm source; the light reaches the walls and the walls go amber. Here the ground is blue-black stone all the way to the skirting and the candlelight stops about an inch from each wick. Dark academia is not cosy. It is a cold building somebody has been let into after hours, and if this palette ever warms up at the edges it has turned into the yurt. --mop-flame is the only warm value that touches anything, and mostly it touches nothing: see ORNAMENT in check-contrast.py for the wax and the halo, which carry no words. */ --mop-night: #10141A; --mop-stone: #1A2027; --mop-shelf: #232B34; --mop-deep: #080B0E; --mop-bone: #EAE4D6; --mop-dim: #A7AFB9; --mop-gilt: #D3AB58; --mop-flame: #F3B95F; --mop-wax: #6A4A2A; --mop-rule: #3A434E; /* Nine spines, nine measured pairs. A shelf where one title is a guess is a shelf with an unreadable book on it, and the reader cannot tell which. */ --mop-oxblood: #6B2028; --mop-sugar: #D8BCC6; --mop-inkspine: #232A42; --mop-graphite: #474D55; --mop-tar: #15181C; --mop-wine: #5C2033; --mop-vellum: #D8CBA6; --mop-dust: #8C8271; --mop-moss: #44523D; /* The Oracle Deck (§23), behind the Mopery's parlour. ASH AND VERMILION, and not one blue in it, because the library it is kept in is blue-black all over and a subroom that borrowed its parent's ground would be the oldest mistake on this street wearing its newest costume. The other reason is the art: every card front is a warm paper engraving, so the room around them is the one cold thing and the prints are the only paper in it. NO GOLD AND NO INDIGO: that pair is The Chappell's, one subroom over. */ --orc-slate: #23201E; --orc-deep: #131110; --orc-cut: #F2EDE4; --orc-dim: #B0A69B; --orc-red: #E8724A; --orc-brass: #B99154; --orc-edge: #3A342F; /* The Doomscroll (§24). THE ONLY PALE ROOM ON THIS SIDE OF THE STREET and the second pale room on the site, which is the whole reason it can sit behind a library that is nearly black: you come up out of the dark and somebody hands you a paper. THE ZINE TABLE IS THE COLLISION TO WATCH, because that is also ink on paper -- and it is a photocopier's stark white with pure black on it, cut up with scissors and scattered. This is foxed newsprint, warm and grey, in one unbroken roll with nothing cut and nothing at an angle, lying on a dark desk. If this paper ever goes white, the two rooms have become one room. --dsc-rule carries no text and is measured in ORNAMENT. */ --dsc-desk: #211D18; --dsc-paper: #DCD7CC; --dsc-paper-2: #CFC8BA; --dsc-ink: #1A1714; --dsc-ink-2: #4A423A; --dsc-rule: #8A8073; --dsc-red: #8C1D18; --dsc-bone: #EAE4D6; /* Swaying Sweetgrass (§25), pitch 02 in the campgrounds. A MEADOW LIT FROM BEHIND, which is the one thing keeping it out of the warm-enclosed family it otherwise joins — the Faery Yurt, The Latibulum, The Den, the Hermitage's cave and the Mopery's shelves are every one of them lit by a flame you could put your hand over. THIS LIGHT IS THE SUN, LOW, A HUNDRED FEET AWAY, AND BEHIND THE GRASS. Nothing in here is lit from the front: the blades glow because the light is coming THROUGH them, so the greens go yellow and the ground stays dark. That is also what keeps it off the Jungle Room, where the light falls DOWN through a roof and lands in patches, and off the campground it is pitched on, which is night-blue with no light in it at all. --sedge and --stem are the drawn blades and carry no words; both are measured in ORNAMENT with what they came out at, because the Jungle Room's canopy taught this file that a plant nobody can make out is not a plant. --band is the purple-white where the stems meet the ground, which is Kimmerer's own description and the only cool colour in the room — it sits at the FOOT of things, never at the top, because that is where it is on the plant. */ --soil: #141A0C; --shade: #1D2612; --straw: #EFE6C6; --awn: #C4C08E; --glow: #D7E06A; --seed: #E3C85C; --band: #D9C6E8; --sedge: #8FA05A; --stem: #4E6B2E; /* THE ADVENTURER'S GUILD (§26). THE ONE TIDY ROOM, and every value here is doing that one job. Manila, printer's ink, hairline rules, a vermilion stamp and a clerk's blue: the palette of a form rather than of a place. IT IS THE SECOND DAYLIT-LOOKING ROOM AND IT HAS NO LIGHT IN IT AT ALL, which is the distinction that keeps it off the Solarpunk Hermitage. That cabin has a SUN in it -- a direction, a warmth, shadows falling away from it, sunflowers. This room is lit the way a photocopy of a document is lit: evenly, from nowhere, with nothing casting anything. So there is no gradient in this section, no shadow in it, no rounded corner in it and no ambient layer at any dial setting. A form does not move; if it did you would be worried about it. If anything in here ever picks up a glow, a soft edge or a drop shadow, the room has stopped being a printed sheet and started being a place, and the hermitage already is one. IT IS ALSO THE SECOND PALE GROUND ON A DARK STREET, and the Doomscroll is the one to watch. That room is FOXED NEWSPRINT -- warm, grey, one unbroken roll with nothing cut and nothing rotated, lying on a dark desk you can see the edges of. This is MANILA, ruled: boxes, columns, a class in the margin, a stamp. The doomscroll has no rule on it anywhere and this room is made of them. If this paper ever goes grey, the two have become one. --gu-rule carries no text and is in check-contrast.py's ORNAMENT at 2.22, which is what a hairline printed rule measures and is the whole reason it reads as a hairline. --gu-stamp and --gu-file are both held against both papers, because the alternating cells mean either can sit on either. */ --gu-paper: #E8E1CF; --gu-paper-2: #D8CFB6; --gu-ink: #1E241F; --gu-ink-2: #4C5349; --gu-rule: #A2977E; --gu-stamp: #9E2B1B; --gu-file: #1C3B6E; /* The Feed (§27). A dark concourse with lit machines standing in it, and the one room here whose FURNITURE IS DARKER THAN THE ROOM: --fd-hall is the concourse and --fd-enamel is a board's carcass, and the carcass is the darkest thing in the hall and the brightest thing in it at once -- dead enamel with a light behind the letters. Every other dark room on this street puts furniture lighter than its ground. --fd-girder IS AN OBJECT'S OUTLINE AND IS MEASURED AS ONE, on all four grounds, the Hermitage's chairs rule. It was a much darker grey first and measured 1.02 against the pool of light the boards throw on the floor, which is to say the board's own edge vanished exactly where the light was brightest. It is 3.07 there now and clears 3:1 on the hall, the enamel and a flap as well. A FLAP IS TWO HALVES, WHICH IS WHY THERE ARE TWO FLAP COLOURS. The first version drew the seam as one near-black hairline straight through the middle of the letters -- which is what the real machine does, and which on the share card read as a STRIKETHROUGH: the row lettered NEVER looked deleted rather than printed, at the size a card is actually seen. So the lower half of every flap is its own slightly darker face (--fd-flap-lo) with a lit fold along its top edge (--fd-fold), which is both what a folded flap looks like and a thing nobody can mistake for a line through a word. Both halves are grounds and both are measured; --fd-fold carries no text and is in check-contrast.py's ORNAMENT with its numbers. --fd-split is the hard dark line between the flaps in this room's DOOR awning on the street, the one place a flat seam still reads as a seam. */ --fd-hall: #1D2124; --fd-enamel: #0B0E10; --fd-flap: #141A1D; --fd-flap-lo: #0F1417; --fd-fold: #313A3F; --fd-girder: #6B7479; --fd-split: #04070A; --fd-lamp: #EFEAE0; --fd-dim: #9AA4A9; --fd-amber: #F0B542; --fd-signal: #63CBA2; /* The Garden (§28). MIDDAY, AND THE LIGHT HAS BEEN THROUGH A LEAF ON ITS WAY DOWN, which is the whole of its separation from the two rooms on this street it would otherwise collapse into. · THE SOLARPUNK HERMITAGE is the other room the sun is up in, and its light LANDS ON A WALL: --noon is warm lime plaster, everything stands in front of it, and the shadows fall sideways off a low sun. There is no wall here and nothing to stand in front of. The sun is overhead and it has come down through foliage, so every pale surface in this room is tinted GREEN and every shadow is small, hard and directly underneath the thing that made it. · THE ADVENTURER'S GUILD is the other pale ground, and it has no light source in it at all -- lit like a photocopy, evenly, from nowhere, with nothing casting anything. This room is nothing but light. AND THE PALEST THING HERE IS NOT THE GROUND. --gd-day is the path you are standing on and --gd-board is a limewashed plank laid on it, BRIGHTER than the ground it sits on -- where the hermitage's panels are darker than its plaster and the guild's are darker than its manila. A board separates from the path by 1.07, which is to say not at all, so it is carried by its edge and by the hard shadow under it, the way every object in the Hermitage's campfire is carried by its outline. --gd-dapple IS PAINTED AND NOT LAYERED, which makes this the one room on the street with no composite ground in it. The Chappell has a rose window over its type, the burrow a lamp pool, the arcade a scanline, the meadow a sun wash: in every one of those the colour the text actually sits on is a thing nobody declared, and check-contrast.py has to reconstruct it. Leaf shadow is an opaque colour here -- the second ground, measured as itself, with nothing to guess about. --gd-edge never fills anything and --gd-dapple never draws a line. --gd-leaf-2 is the lit face of a drawn leaf and is held to the 3:1 graphics bar on all three grounds, the Jungle Room's canopy rule: a leaf nobody can make out is not a leaf. --gd-bloom is the one flower colour and started at #C2470E, which measured 4.12 on a limewashed board -- a garden's brightest colour failing on its brightest surface, found before it shipped rather than after. GD- PREFIXED THROUGHOUT, because `leaf` is already The Chappell's gold, and `shade`, `bloom` and `day` are the kind of plain word a stylesheet fills up with: a custom property declared twice in one :root is last-wins and silent, so this is the --leaf collision pre-empted rather than discovered. */ --gd-day: #F2F7E9; --gd-dapple: #EBF2DF; --gd-board: #FCFDF6; --gd-edge: #9DB183; --gd-loam: #2B2013; --gd-loam-2: #5A462C; --gd-leaf: #2F6B1E; --gd-leaf-2: #55893A; --gd-bloom: #A8390B; /* The Zibaldone (§29). A BOOK LYING ON A DESK, LIT FROM ONE SIDE, and that sentence is the whole of its separation from every other paper room on this street, and there is already a great deal of ink on paper here. · THE MOPERY is a cold BUILDING you are let into after hours: blue-black stone walls, an institution's books, and type that was PUNCHED into the page by a press. You stand up in it. This is one object at arm's length, seen from directly above, warm, and written into by hand -- and it is nobody's property but the keeper's. Printed against written is the separation, and it holds at the stroke rather than at the palette, which is the only place these two could ever have been kept apart. · THE DOOMSCROLL is the closest call, because it is also pale paper on a dark desk. It is ONE UNBROKEN ROLL -- machine-set, nothing cut, nothing rotated, cold grey newsprint. This is BOUND LEAVES: --zb-gutter is a fold, there is a verso and a recto, and everything on it was pasted down at whatever angle the hand was holding. Newsprint is grey and cheap; laid paper is warm and has a tooth. If this paper ever goes grey the two rooms have become one. · THE ZINE TABLE is photocopied -- stark white, pure black, cut with scissors, made in a hundred copies to be given away. This is ONE COPY, warm, and nothing in it was cut out: it was written in. A zine is for strangers and a commonplace book is for its keeper. · THE GARDEN and THE ADVENTURER'S GUILD are the other pale grounds. The garden's light came down through leaves, so everything in it is tinted green and every shadow is small, hard and directly underneath. The guild has NO LIGHT SOURCE AT ALL and casts nothing. Here the light RAKES ACROSS FROM ONE SIDE at desk height -- which is why the paper has a tooth you can see, why the fold has a shadow in it, and why this is the only room on the street lit by something in the room with you. ZB- PREFIXED THROUGHOUT, on the Garden's precedent rather than after this room's own accident: `desk`, `paper`, `tape`, `iron` and `gutter` are exactly the plain words a stylesheet fills up with, and a custom property declared twice in one :root is last-wins and silent -- which is how a gold room once rendered green. --zb-tape and --zb-gutter never carry text and are in check-contrast.py's ORNAMENT list with their measurements. Every ink is held against BOTH papers, because a leaf is a slip laid on a page and half the type in the room sits on the slip. */ --zb-desk: #2A211A; --zb-desk-2: #3A2E24; --zb-laid: #F2E8D5; --zb-laid-2: #E9DCC3; --zb-gutter: #C9B693; --zb-oak: #3A2A18; --zb-iron: #2B3348; --zb-aniline: #5B2E6E; --zb-rubric: #8C2B18; --zb-pencil: #635A4B; --zb-tape: #DFCDA8; /* The Rabbit Hole (§30). A SHAFT, LOOKING BACK UP AT THE DAYLIGHT YOU CAME IN BY, and the separation from its neighbours is physical rather than a matter of taste, because two of them are very close indeed. · THE LATIBULUM IS THE HARDEST COLLAPSE ON THIS STREET SO FAR, harder than any subroom, because these two rooms are LITERALLY both holes in the ground -- and every earlier version of this temptation had a structural excuse attached (it is only a subroom; an area should look like an area; they are both cosy). This one needs no excuse at all: the two rooms have the same floor plan. What keeps them apart is that the burrow is somewhere you ARRIVE and the hole is somewhere you keep GOING. The burrow has a floor, walls, furniture, a lamp at knee height and a shelf, it is horizontal, it is at rest, and almost every word in it sits DARK ON LIT PLASTER. This has no floor, no walls you could lean on and no furniture whatsoever; it is vertical, the light is ABOVE AND BEHIND YOU and there is less of it the further down you read, and every word is PALE ON THE DARK. The burrow is earth and is BROWN. THERE IS NO BROWN IN HERE AT ALL -- it is wet slate -- and if any of these greys ever warms up, the two rooms have become one and it is this one that moves. · THE MOPERY is cold blue-black stone too, and is the other close call. It is a BUILDING: candles the length of every top shelf, a floor, a ceiling, an institution's books, and you stand up in it. There is no flame anywhere in this room and no building around it. Its only light source is DAYLIGHT, arriving from one end of a hole, and a candle lights a foot of a large room while this lights less of one the further in you go. · THE DOOMSCROLL is the closest on MOTION rather than on colour: both rooms are long vertical scrolls and both are about going down. That one is PALE -- one unbroken roll of foxed newsprint -- and its downwardness is dread. This DARKENS as it goes, it is not paper, and its downwardness is the pleasure the room is arguing for. A pale scroll about despair and a darkening scroll about delight. RH- PREFIXED THROUGHOUT, because `slate`, `deep`, `chalk`, `paper` and `ink` are precisely the plain words a stylesheet fills up with, and a custom property declared twice in one :root is last-wins and silent. --rh-slate IS THE FLAT BODY GROUND AND IT IS THE LIGHTEST END OF THE GRADIENT, which inverts the Zibaldone's arrangement on purpose: that room sets dark type on pale paper, so its flat colour is the DARKER end, and this room sets pale type on a dark wall, so the honest flat colour is the LIGHTEST. In both cases the flat colour is the worse case for the type standing on it, which is the actual rule and is what makes check-contrast-live.py's answer the pessimistic one rather than the flattering one. --rh-graphite and --rh-root carry no text and are in check-contrast.py's ORNAMENT list with their measurements. --rh-brass is 6.74 and up on all three dark grounds and only 1.83 on the paper mats, so the mats have a link colour of their own: see --rh-brass-dark. */ --rh-slate: #262C35; --rh-slate-2: #171C23; --rh-deep: #0B0E13; --rh-chalk: #DEDCD4; --rh-dim: #A2ABB6; --rh-daylight: #BFC6CC; --rh-brass: #D9AE3A; --rh-brass-dark: #6B4A0E; --rh-paper: #F3F0E7; --rh-ink: #15181C; --rh-graphite: #4E5865; --rh-root: #3A3026; /* The Healing Checkpoint (§31), room 429. A SAVE ROOM LIT FROM THE FLOOR, and the section below says at length why that one fact is the whole separation from five warm enclosed rooms, a manila job board and two cold stone ones. --hc-chamber IS THE FLAT BODY GROUND AND IT IS THE LIGHTEST OF THE THREE DARKS, The Rabbit Hole's arrangement: a room setting pale type on a dark wall has to take the lightest ground as its honest flat colour, because that is the worse case for the type standing on it. --hc-lit IS NOBODY'S CHOICE -- it is --hc-glim at .10 over --hc-chamber, which is the brightest the pool in the floor makes the room, and it is what the header's type actually sits on once anything has been scrolled. It is in check-contrast.py beside the flat colour, because a flat background is never what the text is on. --hc-clay IS THE ONLY WARM VALUE IN THE ROOM AND IT IS AN INK, never a ground. Every other warm enclosed room on this street is warm underfoot; the moment a surface in here goes warm this is the yurt with a spring in it. It is what pale stone looks like with a cold light on it. HC- PREFIXED THROUGHOUT, on the Garden's and the Zibaldone's precedent rather than after an accident of this room's own: `pool`, `chamber`, `steam`, `spring` and `clay` are exactly the plain words a stylesheet fills up with, and a custom property declared twice in one :root is last-wins and silent -- which is how a gold room once rendered green. */ --hc-chamber: #131E20; --hc-alcove: #0E1719; --hc-vault: #0A1112; --hc-lit: #1D3131; --hc-spring: #0C3B40; --hc-steam: #EAF2F0; --hc-dim: #A6BAB8; --hc-glim: #79DCCE; --hc-clay: #DDB49B; /* The Foundry (§32). IRON, AND IT IS THE FIRST MID-GREY GROUND ON THE STREET. Every other world here is a night ground with light put on it or a sheet of paper with the room cropped away; this is the colour of the metal, halfway between the two, and the separation from both families lives in that one value. --fo-floor is the workshop, --fo-bench is the iron of everything standing on it, and the only pale thing anywhere in the room is one proof. --fo-brass IS THE ONLY WARM VALUE AND IT IS A METAL RATHER THAN A LIGHT. A foundry lit by a furnace would have been the obvious build and would have made this the seventh warm room on a street that already has six; north light is what a workshop was actually built for, because the glazing faces away from the sun so the work has no glare on it. Nothing in here has a lit face. --fo-lead IS ORNAMENT AND CARRIES NO TEXT: 3.66 on the floor, which is under the bar, so it rules and borders and never says anything. It is in check-contrast.py's ORNAMENT list with that number written beside it. --fo-paper AND --fo-ink ARE THE DEFAULT PAIR ON THE BENCH and the other three pairs live in data/foundry.json with their measured ratios, because this is the one room where the visitor picks the colour of the text. FO- PREFIXED THROUGHOUT, on the Healing Checkpoint's precedent rather than after an accident of this room's own: `floor`, `bench`, `lead`, `paper` and `ink` are exactly the plain words a stylesheet fills up with, and `ink` is already the zine's. A custom property declared twice in one :root is last-wins and silent. */ --fo-floor: #3F4548; --fo-bench: #2E3335; --fo-bone: #EDEAE3; --fo-oil: #B9BFBD; --fo-brass: #DCB262; --fo-lead: #98A0A3; --fo-roof: #6E7A80; --fo-paper: #E8EAE9; --fo-ink: #16181A; /* Danny the Street (§33). ONE HUE AND NOTHING ELSE, which is not a taste and cannot be loosened: low-pressure sodium is effectively a single wavelength, so under a street lamp nothing has a colour of its own -- only a brightness. Every value here is on one warm line from the tar up to the lamp, and a second hue in this room would be a different kind of lamp. --dn-tar is the road, --dn-paint is the road marking and every word in the room, --dn-chalk is the fine print, --dn-sodium is the lamp and every link. --dn-kerb IS ORNAMENT AND CARRIES NO TEXT: 3.08 on the tar and 2.62 inside the lamp's pool, both under the bar, so it kerbs, rules and joints and never says anything. It is in check-contrast.py's ORNAMENT list with those numbers beside it. DN- PREFIXED THROUGHOUT, the Foundry's precedent: `tar`, `paint`, `chalk` and `kerb` are exactly the plain words this file fills up with, and `chalk` is already the base's. A custom property declared twice in one :root is last-wins and silent. */ --dn-tar: #1A1917; --dn-paint: #F1EADA; --dn-chalk: #C0B8A6; --dn-sodium: #F0A73F; --dn-kerb: #6B665D; /* The Outskirts (§34). HEADLIGHTS, WHICH IS A LIGHT NOTHING ELSE HERE USES. Every other world is lit from above through leaves, from one side at desk height, from behind at a hundred feet, through a mask, from directly overhead, from under the floor, or from nowhere at all. This is lit from OFF THE PAGE, low and level and close, so a thing out here has one bright face and no back, and everything an inch past the beam is --osk-night. --osk-beam is what the light lands on and every word in the area; --osk-dim is the fine print; --osk-rust is the paint on the boards and every link; --osk-board is the sign face. --osk-weed IS ORNAMENT AND CARRIES NO TEXT: 4.04 on the night and 3.51 on a board, both under the bar, so it draws grass and nothing else. It is in check-contrast.py's ORNAMENT list with those numbers beside it. OSK- PREFIXED THROUGHOUT, the Foundry's and Danny's precedent: `beam`, `board`, `dim` and `weed` are exactly the plain words this file fills up with. A custom property declared twice in one :root is last-wins and silent, and it has already shipped once. */ --osk-night: #08090B; --osk-board: #1A1B17; --osk-beam: #EDE7D6; --osk-dim: #A9A491; --osk-rust: #D96A3C; --osk-weed: #6E7358; /* Black Leather Lagoon (§35). ONE LIT RECTANGLE AT A DISTANCE, and that is the whole separation from Club Chronic. That room is a WALL -- flat, pasted, layered paper, no light source anywhere in it and no depth. This has a horizon, standing water and one bright screen out in it, so every object has a face turned towards the screen and goes black behind. Two music rooms with a rack of records in them, kept apart by the fact that one of them is lit. --lag-water is the ground; --lag-screen is the light and every word; --lag-dim is the fine print; --lag-card is the face of a lobby card out in the shallows; --lag-acid is every link and the title; --lag-poster is the red that carries text. --lag-blood IS ORNAMENT AND CARRIES NO TEXT: 3.35 on the water and 3.05 on a card, both under the bar. It frames and rules and never says anything, and --lag-poster exists precisely so the room is not tempted to let it. Both are in check-contrast.py, one measured in ORNAMENT and one as a pair. LAG- PREFIXED THROUGHOUT: `water`, `card`, `screen` and `blood` are plain words, and `screen` is already three other rooms'. */ --lag-water: #07090A; --lag-card: #12161A; --lag-screen:#E6E2D2; --lag-dim: #A7AFA0; --lag-acid: #8CC63F; --lag-poster: #E4564A; --lag-blood: #B6342F; /* Sithen (§36). MOONLIGHT, WHICH IS HIGH, COLD, DIFFUSE AND FROM ABOVE -- the opposite of the road it turns off, where a headlight is low, level and from one side. Out there a thing has a bright face and no back; here everything is evenly silvered and the shadows go straight down. AND THERE IS NO GREEN IN IT AT ALL, which is what keeps it off the campgrounds -- the other cold night ground on this site, which is blue-green spruce, lichen and moss. Grass under a full moon has no colour, only a brightness, and every value here is on one grey-violet line. --sth-night is the field, --sth-bank is the earth of the ring and every panel, --sth-bone is the blossom and every word, --sth-dim is the fine print, --sth-moon is every link. --sth-thorn IS ORNAMENT AND CARRIES NO TEXT: 3.69 on the field and 3.30 on the bank, under the bar both ways. It draws thorns, branches and rules and says nothing. It is in check-contrast.py's ORNAMENT list with those numbers beside it. STH- PREFIXED THROUGHOUT, the Foundry's precedent: `bank`, `bone`, `moon` and `thorn` are exactly the plain words this file fills up with, and `moon` is already the campgrounds' link colour. A custom property declared twice in one :root is last-wins and silent, and it has shipped once. */ --sth-night: #0C0B12; --sth-bank: #1A1822; --sth-bone: #EDEAF2; --sth-dim: #A7A2B8; --sth-moon: #BDB0DE; --sth-thorn: #6E6880; /* Covenstead (§37). ONE WINDOW, IN THE AFTERNOON, INDOORS. The room moved off the road out of town and onto the street, and it changed worlds when it moved: Ryan's call, 2026-09-22. A covenstead is a group that meets regularly, which is neither solitude in nature (the campgrounds) nor revelry at a distance (The Outskirts) -- it is a premises, so it has a shopfront. THE LIGHT IS THE SEPARATION AND IT HAS TO STAY. Three pale rooms already exist here and every one is lit differently: the Hermitage is a LANDSCAPE under low morning sun with the shadows falling away from it, the Garden is MIDDAY from overhead through leaves, and the Guild has NO LIGHT SOURCE AT ALL and is lit like a photocopy. This is an INTERIOR with one window in the side of it, mid-afternoon, so the light arrives from one side and lands in a patch -- --cov-sun is where it falls and --cov-wash is the rest of the limewash. The two are 1.12 apart, which is what an ordinary room actually looks like and why both are safe grounds for text rather than one being an effect over the other. AND THERE IS NO GREEN GROUND IN IT, which is what keeps it off the other two daylit rooms, both of whose papers are green-white. This wall is warm and slightly pink, the colour of old distemper. --cov-ink is every word, --cov-ink-2 the fine print, and the three glazes are the mismatched china: --cov-delft, --cov-sage and --cov-rose. ALL THREE CARRY TEXT, so there is no ornament entry for this room and all ten pairs are measured in check-contrast.py. COV- PREFIXED THROUGHOUT: `wash`, `sun`, `ink` and `rose` are exactly the plain words this file fills up with, and `ink` is already the zine's. */ --cov-wash: #F3E9E1; --cov-sun: #FCF7EF; --cov-ink: #2A211C; --cov-ink-2: #5E5048; --cov-delft: #2F5E86; --cov-sage: #41643A; --cov-rose: #A1384A; /* Looming Rocks Amphitheatre (§38). THE LIGHT IS THROWN UPWARD, which no other world on this street does. Floods stand on the ground and point UP the rock faces, so a rock is bright at its foot and goes dark towards the top, and there is nothing overhead at all -- the opposite of Sithen two turnings back, where a full moon lights everything from directly above. AND WHAT GLOWS IS NOT THE LAMP. The lichen fluoresces: a surface taking invisible light and giving back visible, which is emission rather than reflection and is the third kind of transmitted light this street has (Swaying Sweetgrass is lit THROUGH bodies, The Feed through an aperture). --lr-rock is unlit stone and the ground; --lr-face is a rock face with a flood on it and every panel; --lr-bone is every word; --lr-dim the fine print; --lr-uv is the violet of the lamps and every link; --lr-lichen is what the lichen gives back. --lr-lichen IS A CYAN-GREEN AND THE LAGOON'S ACID IS A YELLOW-GREEN, one turning along the same road. They are far apart in blue (200 against 63) and the rooms differ in everything else, but this is the pair to watch: if this ever warms towards yellow the two music rooms on this road have started sharing a colour. BOTH ACCENTS CARRY TEXT, so this room has no ornament entry either. LR- PREFIXED THROUGHOUT: `rock`, `face`, `bone` and `dim` are exactly the plain words this file fills up with, and `bone` is already the campgrounds'. */ --lr-rock: #15120F; --lr-face: #241E18; --lr-bone: #EDE7DC; --lr-dim: #ABA196; --lr-uv: #A579F0; --lr-lichen: #4FD8C8; /* The address that is not on the street (§39), which is the 404. FOG, AND FOG IS LIT FROM EVERYWHERE. Water in the air scatters light until it arrives from every direction at once, so nothing casts a shadow, nothing has a lit face, and the only thing that tells near from far is how pale a thing has gone. --fg-fog is the ground and the air; --fg-ink is every word; --fg-dim the fine print; --fg-link every link, which is underlined because it is 1.55 from the ink and colour is never the only channel here; --fg-plate and --fg-enamel are the house-number plate on its post, which is the one near thing in the room. --fg-far, --fg-mid, --fg-halo AND --fg-post ARE ORNAMENT AND CARRY NO TEXT: the rooftops going back into the fog at 1.22 and 1.53, the halo round a distant lamp, and the post under the plate at 3.86. A rooftop that measured 4.5 would be close enough to knock on, which is the one thing nothing in this room is. All four are in check-contrast.py's ORNAMENT list. FG- PREFIXED THROUGHOUT: `ink`, `dim`, `link` and `plate` are exactly the plain words this file fills up with, and `ink` is already the base's. */ --fg-fog: #D3D9DA; --fg-ink: #1C2428; --fg-dim: #3D4A50; --fg-link: #16465C; --fg-plate: #1D3557; --fg-enamel: #F3F4EF; --fg-far: #BEC6C8; --fg-mid: #A7B1B4; --fg-halo: #E6EAEA; --fg-post: #5E6B70; /* Dead Tired Society (§40). A BORROWED ROOM AFTER HOURS WITH THE BIG LIGHTS OFF AND THE DOOR LEFT AJAR, and the light is the whole separation. It comes from OUTSIDE the room -- a corridor's strip lights, through a gap -- and it lies on the floor as one hard-edged wedge that NOBODY IS SITTING IN. --dts-hall is that light and NOTHING IS EVER SET IN IT, which is the room's one rule about colour and the reason it is in check-contrast.py's ORNAMENT list despite measuring 14.8: masking is performing under a light, and this is the one room on the street whose words all stay in the shade on purpose. COVENSTEAD IS THE ROOM TO WATCH, because a group meets there too and its light also comes in from one side and lands in a patch. That room is daylit all over, its patch is 1.12 from its wall, and it sets its words IN the patch. This one is dark, its patch is fourteen times brighter than anything around it, and it keeps every word out of it. THE GROUND IS PLUM AND NOT VIOLET, which holds it off Sithen's grey-violet night and the Chappell's votive purple: it is the colour of a dark room seen through half-shut eyes. --dts-exit is every link and it is the corridor's own green, because a link is a way out through the door. --dts-edge draws everything standing in the shade and carries no word. DTS- PREFIXED THROUGHOUT: `room`, `hall`, `edge` and `exit` are exactly the plain words this file fills up with, and a custom property declared twice in one :root is last-wins and silent. */ --dts-room: #22151F; --dts-deep: #170E15; --dts-pale: #EFE7EE; --dts-text: #DCD1DA; --dts-dim: #B7A8B5; --dts-exit: #A6D6B3; --dts-hall: #E4EFE2; --dts-edge: #8B7889; /* Laughingstock (§41). A COMEDY CELLAR SEEN FROM THE BACK OF THE HOUSE, and the light is the whole separation: ONE FOLLOW SPOT, FROM BEHIND YOU. It sits in the lighting box over the audience's heads and throws one hard- edged pool onto a brick wall, so the only lit things in the room are in front of you and every shadow falls straight back onto the brick. --ls-spot is that light, and THE ONLY THING EVER SET IN IT IS WHAT A COMIC SAID. That is Dead Tired Society's rule turned inside out, one door along: there nobody sits in the light because masking is performing under one; here exactly one person stands in it, because they chose to and they are holding the mic, and controlling the frame is the whole of the argument. Everything of ours -- the write-up, the notes, the house rules -- is out in the dark with the audience: --ls-house, with --ls-cream, --ls-text and --ls-dim on it. --ls-ink and --ls-ink-2 are the only inks in the light. --ls-neon is the sign over the stage and every link in the house. THE BRICK IS RED AND NOT BROWN. --ls-brick is the lit face of a brick and --ls-wall is the same brick out of the light; neither carries a word. If those ever drift towards brown, this has become The Den with a microphone in it, and it is this room that moves. LS- PREFIXED THROUGHOUT: `wall`, `brick`, `edge`, `spot` and `ink` are the plain words this file fills up with, and a custom property declared twice in one :root is last-wins and silent. */ --ls-house: #140F10; --ls-deep: #0B0808; --ls-cream: #F4E8D8; --ls-text: #D8C9BB; --ls-dim: #B09F92; --ls-neon: #86DCFF; --ls-edge: #7D6A60; --ls-spot: #FBF0DC; --ls-ink: #1F1513; --ls-ink-2: #5B3B2F; --ls-brick: #8E3526; --ls-wall: #3A1713; --ls-joint: #231513; --ls-joint-lit: #C9A48E; /* The Lightbulb Picture House (§42). AN AUDITORIUM WITH THE HOUSE LIGHTS UP, and that is the whole separation from every dark room on this street with a bright rectangle in it. The room is lit ALL OVER, by bare bulbs in brass sconces down both walls, so the ground is lit velvet -- red, not black -- and there is no beam, because a projector's beam only shows in the dark. NOTHING HERE IS BLUE, and make-picture-house.py refuses a blue --lph- colour: a lightbulb theater in a neurodiversity room, lit blue, is Light It Up Blue. The bulbs are warm and the ornament is the gold infinity, Autistic UK's, from Au. --lph-velvet is the room and carries every word of ours; --lph-deep is the rack's cards and the seats; --lph-screen is the one pale thing, and every press-to-play plate is a small screen in it, dark ink on the light. --lph-gold is every link and heading accent. The brass, the bulbs and the curtain's folds draw and carry nothing. LAUGHINGSTOCK IS THE ROOM TO WATCH, one door along and also red, also a room you sit in and face something lit. That room is a DARK house with one spot from behind you onto brick; this is a LIT house with no spot at all and many small sources, velvet rather than brick, and nothing in it standing in a pool. If the house lights here ever go down, it has become that room with a screen in it, and it is this one that moves. LPH- PREFIXED THROUGHOUT: a custom property declared twice in one :root is last-wins and silent. */ --lph-velvet: #7A1C2B; --lph-deep: #551220; --lph-fold: #9A2A3A; --lph-cream: #FFF4E2; --lph-text: #F7E3D0; --lph-dim: #EDC9B0; --lph-gold: #F6C95A; --lph-bulb: #FFE3A0; --lph-brass: #C9953C; --lph-screen: #FFF6E8; --lph-ink: #2A0A10; --lph-ink-2: #6B2230; /* Dance, Punks (§43). A SILENT DISCO LIT BY THE HEADSETS AND NOTHING ELSE. The light is WORN: every dancer carries a small glow at head height in the colour of the channel they are on, and it lights them and whoever is next to them. Nothing else on the runway is lit -- no rig, no runway lights, no moon -- so --dp-tarmac is the dark between people, and the markings, the runway surface and the dancers' own bodies (--dp-paint, --dp-strip, --dp-body) are ornament that carries no word. THE THREE CHANNEL INKS ARE CHOSEN BY BRIGHTNESS AS WELL AS HUE. Blue, orange and white, at least 1.5:1 apart from each other, so they stay three headsets in greyscale; the obvious red, green and blue fail that for the commonest colour blindness. make-dance-punks.py reads these values from here, measures them, and refuses a pair under the bar. Each one also sets its channel's name, so each is held to 4.5 on the tarmac and on --dp-deep. --dp-text, --dp-dim and --dp-pale carry every word of ours. DP- PREFIXED THROUGHOUT: a custom property declared twice in one :root is last-wins and silent. */ --dp-tarmac: #0B0A0D; --dp-deep: #17151C; --dp-strip: #121116; --dp-paint: #3B3842; --dp-body: #1E1B24; --dp-pale: #F7F4FA; --dp-text: #E6E2EC; --dp-dim: #ADA7B6; --dp-blue: #4F7FF5; --dp-orange: #FF9A3C; --dp-white: #F4EFE6; /* The Small Hours (§44). A LIT BOX SEEN FROM THE DARK, which is the whole separation. You stand in the car park at night looking in through a band of plate glass at a room lit evenly all over by tubes, and every word that belongs to the diner is IN a window: --sh-glass, with --sh-ink, --sh-ink-2 and --sh-teal on it. Out on the lot you have --sh-lot, with --sh-pale, --sh-text, --sh-dim and the one steady neon, --sh-neon, which is the OPEN sign and every link outside. The wall, the kerb, the chrome, the formica and the booth vinyl draw and carry nothing (--sh-wall, --sh-line, --sh-chrome, --sh-aqua, --sh-cherry). DEAD TIRED SOCIETY IS THE ROOM TO WATCH, because that room's light is also tubes and also lies on the floor in a shape. It is the exact inverse: you sit in a dark room and the light is outside it, in a corridor, and nobody stands in it. Here the light is inside and you are the one outside. If the words ever come out of the windows onto the dark, this has become that room with a menu. SH- PREFIXED THROUGHOUT: a custom property declared twice in one :root is last-wins and silent. */ --sh-lot: #0F1116; --sh-wall: #2A2E38; --sh-line: #3A3F4A; --sh-chrome: #C7CBD3; --sh-pale: #EEF0F3; --sh-text: #D5D9E0; --sh-dim: #A7ADB8; --sh-neon: #FF6B6F; --sh-glass: #F2F4F7; --sh-ink: #1A1D26; --sh-ink-2: #4A4F5E; --sh-teal: #0F6E68; --sh-aqua: #1F8A84; --sh-cherry: #B8323C; /* The Repeater (§45). EVERYTHING IS A SILHOUETTE, which is the whole separation. Nothing on the ridge is lit -- not the mast, not the hut, not the hill -- and the only light is the glow every other lit thing on the road throws up onto the underside of the cloud, so every object is a black shape against a sky the colour of somewhere else's light. --rp-cloud is that sky overhead and carries every word; --rp-glow is the band of it along the horizon and --rp-ridge is the black of everything standing against it, and neither carries a word. --rp-lamp is the two steady red lamps on the mast, ornament. --rp-deep is the panel the open line sits on; --rp-card, --rp-ink, --rp-ink-2 and --rp-call are the cards in the log. THE CLOUD IS WARM AND NOT BLUE. A navy night sky would be the campgrounds, which is cold and has the sky on it, lit by nothing. This is overcast lit from below by a town, which is a dull warm grey in life too. RP- PREFIXED THROUGHOUT: a custom property declared twice in one :root is last-wins and silent. */ --rp-cloud: #1A1517; --rp-deep: #241D20; --rp-glow: #5A4038; --rp-ridge: #070606; --rp-lamp: #FF3B30; --rp-pale: #F1ECE8; --rp-text: #D9D1CD; --rp-dim: #AEA39F; --rp-amber: #F2B880; --rp-card: #EFE8D8; --rp-ink: #1B1A22; --rp-ink-2: #4E4A58; --rp-call: #9C1F18; /* Nothing For Sale (§46). LIT BY EVERYBODY'S HEADLIGHTS AT ONCE, which is the whole separation. The road into The Outskirts is lit by YOUR headlights, one low beam from behind you; this lay-by is a ring of cars pulled up nose-in with their lamps left on, so the middle is lit from every side and every object in it throws a fan of shadows, one for every car. NO TWO LAMPS MATCH: --nfs-halogen, --nfs-led and --nfs-fog are three different cars' light, and make-nothing-for-sale.py refuses two beams of one colour. Each table's top edge is lit by one of them; --nfs-fog is also every link. --nfs-gravel is the lay-by and --nfs-table the tables, and both carry words; --nfs-lit (the lit middle in the drawing), --nfs-car and --nfs-shadow draw and carry nothing. THE 404 IS THE ROOM TO WATCH, because that fog is also lit from every side at once. There, nothing casts a shadow at all. Here everything casts several, hard, and that is the picture: nobody brought enough light alone. NFS- PREFIXED THROUGHOUT: a custom property declared twice in one :root is last-wins and silent. */ --nfs-gravel: #12110E; --nfs-table: #221F1A; --nfs-lit: #2A2721; --nfs-car: #1F1D19; --nfs-shadow: #070706; --nfs-pale: #F3EFE6; --nfs-text: #DAD4C6; --nfs-dim: #AFA897; --nfs-halogen: #FFE1A1; --nfs-led: #E4ECFF; --nfs-fog: #FFD23F; /* Samefood Cafe (§47). A CAFE SEEN FROM DIRECTLY ABOVE THE TABLE, UNDER ONE EVEN LIGHT THAT DOES NOT CHANGE WITH THE HOUR, and nothing on any plate touches anything else. --sf-table is the laminate every word in the room stands on, and it is a lilac grey BECAUSE ALMOST NOTHING ON THE MENU IS THAT COLOUR: nothing on the table can be mistaken for the table. --sf-plate is the plate, and EVERY PLATE HERE IS THE SAME PLATE -- one colour, one mould, which is COVENSTEAD INVERTED, one door along: there nobody's cup is anybody else's and that is its subject; here the sameness is. --sf-well is the recess of each compartment on it, and words sit in those too. --sf-ink is every word, --sf-ink-2 the fine print, --sf-sauce every link (the one red on a pale table), and --sf-cress draws the job marker. --sf-rim and --sf-shade draw and carry nothing: the rim of the plate and the soft ring of shade the overhead light puts round every object, which is the light drawing a gap round each thing. The food colours are ornament, each carried by an --sf-ink-2 outline, and are measured in check-contrast.py's ORNAMENT list with their numbers. --sf-apple and --sf-ketchup are the red ones; red matters only to somebody who has asked about it, and Ronan has, for his own food. NO BLUE: a lilac is the closest this room comes, on purpose -- see the Lightbulb Picture House for why a neurodiversity room lit blue is a campaign we refuse. SF- PREFIXED THROUGHOUT: `plate`, `rim` and `shade` are exactly the plain words this file fills up with, and a custom property declared twice in one :root is last-wins and silent. */ --sf-table: #E6E0EB; --sf-plate: #FCFAF6; --sf-well: #F3EEE7; --sf-ink: #2A1F30; --sf-ink-2: #5A4B60; --sf-sauce: #9C2F1E; --sf-cress: #3E5C22; --sf-rim: #B3A7BD; --sf-shade: #D4CBDC; --sf-pop: #EFC75E; --sf-pesto: #7C9A45; --sf-apple: #C0463B; --sf-nut: #B57A3E; --sf-coffee: #6B4430; --sf-cheese: #F29B38; --sf-ketchup: #B3261E; --sf-broth: #EBCF93; --sf-noodle: #F7EBC0; --sf-onion: #4F8F35; --sf-nugget: #D9A04E; } * { box-sizing: border-box; } html { -webkit-text-size-adjust: 100%; } body { margin: 0; font-family: var(--sans); font-size: 17px; line-height: 1.55; background: var(--ink); color: #fff; overflow-x: hidden; } img, svg { max-width: 100%; height: auto; } /* THE HIDDEN ATTRIBUTE IS A STATEMENT ABOUT THE DOCUMENT, NOT A STYLE, and the browser's own rule for it is `[hidden] { display: none }` at specificity (0,1,0) — which any ordinary class rule setting `display` ties with and then WINS, because it comes later in this file. Nothing warns. An element that a script has switched off stays on the screen, and the script looks broken while the stylesheet is the one lying. IT HAPPENED THREE TIMES IN ONE ROOM before this rule existed: the Hermitage's way-out link, its play button and then its whole OFF PANEL, which sat beside the running video as a column of stale text announcing that the set was off while the set was plainly on. Two of those were patched one selector at a time, which is how a third one was still waiting to be found. */ [hidden] { display: none !important; } /* Focus is never removed and never subtle. A site made of buttons has to be navigable by keyboard or it is a diorama. */ :focus-visible { outline: 4px solid var(--yellow); outline-offset: 3px; border-radius: 2px; } /* THE FIRST CONTROL A KEYBOARD USER MEETS, AND IT WAS UNREADABLE IN TWENTY-ONE ROOMS. This carries its own yellow ground and its own near-black ink at (0,1,0) — and every room on the street sets `.room-x a { color: … }` at (0,2,0), which reaches straight through to it. So the skip link took each room's link colour on a yellow box: gold on yellow at 1.26 in the chapel, mint at 1.10 in the arcade, and YELLOW ON YELLOW at 1.00 on every plain room. Nothing had ever seen it, because it sits at left:-9999px until it is focused and nobody screenshots a focused skip link. `!important` here for the reason §2 already carries one on [hidden]: this is shared furniture that every room's own rules out-specify by accident, the guard has to hold in a room nobody is thinking about, and patching it room by room is the thing that file's note tells you not to do. Rooms restyle the backlink on purpose; the skip link is the one piece they must not reach. */ .skip { position: absolute; left: -9999px; top: 0; z-index: 100; background: var(--yellow); color: var(--ink) !important; font-family: 'Bungee', var(--sans); font-size: 14px; padding: 14px 20px; text-decoration: none; } .skip:focus { left: 0; } .sr { position: absolute; width: 1px; height: 1px; padding: 0; margin: -1px; overflow: hidden; clip: rect(0 0 0 0); white-space: nowrap; border: 0; } .wrap { width: min(1180px, 100% - 44px); margin-inline: auto; } /* Touch targets. 44px is the floor everywhere, toys included. */ button, .btn, a.door, .tile { min-height: 44px; } /* §3 ── The intensity dial ─────────────────────────────────────────────────── THE most important 40 lines in this file. Three levels on . The default is read from the visitor's own device (prefers-reduced-motion → gentle) by the inline snippet in each page's head, which runs BEFORE first paint so nobody gets flashed the loud version on the way to the quiet one. A stored choice always wins, INCLUDING a choice to turn it up past what the OS asked for — that is the whole point. The visitor is the authority on their own tolerance, not the media query. gentle — no rotation, no ambient motion, no sparkle. Same rooms, same colours, same content. Nothing is hidden at this level; a "lite" version that drops content would be a worse site wearing a politer name. regular — full colour and full type play. Motion on hover/focus only. max — ambient motion as well: the marquee scrolls, the sparkle twinkles, the toys wobble. Nobody arrives here by default. */ .tilt-a { transform: rotate(-2deg); } .tilt-b { transform: rotate(1.5deg); } .tilt-c { transform: rotate(-1deg); } .tilt-d { transform: rotate(2.5deg); } html[data-intensity="gentle"] .tilt-a, html[data-intensity="gentle"] .tilt-b, html[data-intensity="gentle"] .tilt-c, html[data-intensity="gentle"] .tilt-d { transform: none; } html[data-intensity="gentle"] .sparkle, html[data-intensity="gentle"] .glow { display: none; } html[data-intensity="gentle"] *, html[data-intensity="gentle"] *::before, html[data-intensity="gentle"] *::after { animation: none !important; transition: none !important; } html[data-intensity="regular"] .sparkle { opacity: 0.55; } html[data-intensity="max"] .sparkle { opacity: 1; animation: twinkle 4s steps(2) infinite; } html[data-intensity="max"] .marquee__inner { animation: slide 38s linear infinite; } html[data-intensity="max"] .toy:hover { transform: rotate(-2deg) scale(1.03); } html[data-intensity="max"] .door:hover { transform: translateY(-6px) rotate(-1deg); } @keyframes twinkle { 0%, 100% { opacity: 1; } 50% { opacity: 0.45; } } @keyframes slide { from { transform: translateX(0); } to { transform: translateX(-50%); } } /* The dial itself. Present in every room, always in the same corner, because a control you have to hunt for is not really offered. */ .dial { background: var(--ink-2); border: 3px solid #fff; border-radius: 18px; padding: 15px 17px; } .dial__label { font-family: 'Bungee', var(--sans); font-size: 13px; color: var(--yellow); letter-spacing: 1px; } .dial__row { display: flex; gap: 8px; margin-top: 11px; } .dial__btn { flex: 1 1 0; cursor: pointer; font-family: 'Bungee', var(--sans); font-size: 11px; letter-spacing: 0.5px; padding: 11px 6px; border-radius: 9px; border: 3px solid var(--ink-3); background: var(--ink); color: var(--chalk); } .dial__btn:hover { border-color: #fff; color: #fff; } .dial__btn[aria-pressed="true"] { border-color: #fff; color: var(--ink); } .dial__btn[data-level="gentle"][aria-pressed="true"] { background: var(--green); } .dial__btn[data-level="regular"][aria-pressed="true"] { background: var(--cyan); } .dial__btn[data-level="max"][aria-pressed="true"] { background: var(--pink); } /* THE DIAL KEEPS THE YELLOW RING IN EVERY ROOM, because it is always a dark box and its buttons' rings land inside it. The pale rooms set their own ring for their own ground (check-focus.py found yellow at 1.01 on manila), and a room's ring written for its paper reached straight into the dial on the Zibaldone, where the dial sits on a sheet. !important for the reason the skip link and §2's [hidden] carry it: shared furniture that rooms out-specify by accident, in rooms nobody is thinking about at the time. */ .dial .dial__btn:focus-visible { outline-color: var(--yellow) !important; } .dial__note { margin-top: 11px; font-size: 13.5px; line-height: 1.45; color: #fff; } .dial__fine { margin-top: 9px; padding-top: 9px; font-size: 12px; color: var(--chalk); border-top: 1px solid var(--ink-3); } /* §4 ── Shared furniture ───────────────────────────────────────────────────── The three things every room needs so a visitor is never stranded: a way back to the street, a marquee rail, and the press-to-play facade. */ .backlink { display: inline-block; font-family: 'Bungee', var(--sans); font-size: 12px; letter-spacing: 1px; text-decoration: none; padding: 10px 0; } /* THE SIGN-OFF, on every page but the front one, written by tools/make-signoff.py. It is layout and nothing else: NO colour, NO typeface, NO ground. It takes the room's own ink, face and link colour the way a job marker does, so that it reads as the room signing off rather than the street's pavement turning up in a world that has its own -- the Guild's section says why that line is held. A room whose floor is not the ground its links were chosen for dresses it in its own section, beside its other decisions; that is what §4 is for. Centred at its own measure because it sits in after
, and rooms give their mains every width there is. */ .signoff { width: min(840px, calc(100% - 32px)); margin: 0 auto; padding: 30px 0 44px; font-size: 14px; line-height: 1.7; text-align: center; } .signoff__line { margin: 0; } /* The margin hand. It was written inside the zine table, and then Enid's room and issue #2 started wearing it too — three rooms on one class, which makes it furniture whichever section it was typed in. It is here now because check-classes.py refuses a page wearing a name another room has claimed, and the honest answer to that was not to rename it in two rooms but to admit what it had become. Every room that uses it overrides the colour inline. */ .scrawl { font-family: 'Rock Salt', var(--sans); font-size: 12px; color: var(--red); } .marquee { background: var(--yellow); border-bottom: 4px solid var(--ink); overflow: hidden; white-space: nowrap; } .marquee__inner { display: inline-block; padding: 15px 0; font-family: 'Bungee', var(--sans); font-size: 18px; color: var(--ink); letter-spacing: 1px; } .marquee__inner span { padding-right: 2.5em; } /* The embed facade. NOTHING from youtube is loaded until the visitor presses the button — no iframe, no cookie, no request. This is the mechanism behind the room rule "nothing plays until you press play", and it is why the site can promise it rather than merely intend it. See love-embed.js. */ .facade { position: relative; display: block; width: 100%; aspect-ratio: 16 / 9; cursor: pointer; border: 3px solid var(--ink); border-radius: 12px; background: var(--ink-2); color: var(--cream); font-family: var(--sans); text-align: left; padding: 16px 18px; } .facade:hover { background: var(--ink-3); } .facade__play { position: absolute; inset: auto auto 16px 18px; font-family: 'Bungee', var(--sans); font-size: 13px; letter-spacing: 1px; color: var(--yellow); } .facade iframe { position: absolute; inset: 0; width: 100%; height: 100%; border: 0; border-radius: 9px; } /* AN AUDIO FACADE IS A STRIP, NOT A SCREEN. love-embed.js builds an