/* indigo night — deep indigo ink. The accent is nothing like the light cut's
   #4136d9: indigo has to lighten a long way to carry text on a dark ground, so
   it becomes a periwinkle. Same hue family, opposite end of the ramp.
   THE LAW: DARK EMITS. */
:root[data-theme="indigo-night"]{
  color-scheme:dark;

  --bg:#0c0e1a;
  --surface:#151832;
  --panel:#1e2242;
  --panel-2:#2b3057;
  --field:#0c0e1a;
  --rail:rgba(7,8,16,.5);

  --ink:#eceaf8;
  --ink-dim:#b6b3d4;
  --ink-dimmer:#9491b5;

  --accent:#9b93ff;
  --accent-hi:#c0baff;
  --accent-lo:#6b62d8;
  --on-accent:#0f0c33;

  --red:#e8604c;
  --red-ink:#ffb3a5;
  --green:#3fd39a;
  --green-ink:#7ceec0;

  /* --t-atomic is pushed off the accent's hue here: a cobalt dot beside a
     periwinkle interface sat too close, so it moves to a lighter, cleaner blue
     (65 apart) and --t-pattern takes the violet end. */
  --t-source:#c2c0d4; --t-atomic:#6fa8ff; --t-qa:#a8dc46;
  --t-claim:#ff8a5c;  --t-summary:#ffd166; --t-pattern:#d9a6ff;
  --t-finding:#ff7ab8;
  --atomic-ink:#93c0ff;
  --pattern-ink:#e3c2ff;

  --accent-rgb:155,147,255;
  --deep-rgb:7,8,16;
  --panel-rgb:30,34,66;
  --panel2-rgb:21,24,50;
  --red-rgb:232,96,76;
  --green-rgb:63,211,154;
  --claim-rgb:255,138,92;
  --atomic-rgb:111,168,255;
  --pattern-rgb:217,166,255;
  --shadow-rgb:0,0,0;
  --sheen-rgb:255,255,255;
  --ink-dimmer-rgb:148,145,181;

  --line:rgba(155,147,255,.20);
  --line-soft:rgba(155,147,255,.11);
  --rust:#e08a5c;
  --hm1:#1f1b4a; --hm2:#3d3596; --hm3:#7a70e0; --hm4:#b8b2ff;
  --s-ignored:#6b6b8c;
  /* The wash, on the two FIXED layers (see cockpit.css) rather than on --lamp.
     --lamp is painted on the body, so its percentages resolve against the
     DOCUMENT: on a long page the blooms are positioned against a box several
     screens tall and the slice that reaches the top of the viewport collapses —
     the corner fade is there for the instant before layout and then effectively
     gone. Fixed layers are sized to the viewport and cannot care how tall the page
     is. Same idea prism lime shipped; the rest of the family never got it.
     Alphas are about half the light family's: on a dark ground a wide field turns
     the whole upper page into a light source, so it is kept tight and high — a
     colour ARRIVING in the corner the utility cluster sits in. */
  --lamp:none;   /* painted on the fixed layer instead — see --lamp-fixed */
  --lamp-fixed:
    radial-gradient(78vw 62vh at 108% -6%,rgba(155,147,255,.20),transparent 66%),
    radial-gradient(96vw 70vh at 84% -14%,rgba(111,168,255,.10),transparent 64%),
    radial-gradient(95vw 66vh at 52% -22%,rgba(90,180,190,.05),transparent 60%);
  /* …and the half that moves: two soft blooms, meant to be noticed after a minute
     rather than watched. Its own layer because it animates TRANSFORM only. */
  --lamp-drift:
    radial-gradient(72vw 56vh at 100% 0%,rgba(155,147,255,.09),transparent 62%),
    radial-gradient(84vw 58vh at 66% 2%,rgba(111,168,255,.045),transparent 62%);
  --lift:0 8px 26px -10px rgba(0,0,0,.65);
  --veil:rgba(8,10,20,.58);
  --dial-on:rgba(155,147,255,.18);
  --graph-bg:#080a14;
  --graph-veil:rgba(12,14,26,.72);

  --panel-lift:0 10px 28px -16px rgba(0,0,0,.55);
  /* see lagoon-night: an edge, not a light source (2.0-2.7:1 on the panel) */
  --card-flow:linear-gradient(90deg,#4a44a6 0%,#5f58c4 52%,#3f6096 100%);

  --attn-ink:#eceaf8; --attn-rgb:250,150,60; --attn-bed:.13; --attn-bd:.70;
}