/* ==========================================================================
   HAVEN. — same island, new chapter.

   The window opens back out until it is nearly the whole screen again: the
   last station is the same rectangle the first one was, so the lens has
   travelled the entire page and come home to the size it started at. That
   symmetry is the point of the ending and it is the reason the closing section
   is built the same way the opening one is — a pin, one photograph, type over
   it — rather than as another chapter.

   Night is used exactly once on this site, here, so the last screen is the
   only dark one and the sunset has something to be warm against.
   ========================================================================== */
.close {
  position: relative;
  padding: 12vh 0 0;
  background: var(--chalk);
}

.close__frame {
  position: relative;
  width: min(86vw, calc(78vh * var(--r, 1.97)));
  margin-inline: auto;
  aspect-ratio: var(--r, 1.97);
}

.close__body {
  position: relative;
  /* the copy sits UNDER the window on the chalk, not over it. Ink type over a
     lit sunset is a contrast failure whichever way the gradient runs, and the
     brief asks for a quiet ending rather than a clever one. */
  padding: 6rem 0 0;
  display: grid;
  gap: 1.6rem;
  justify-items: start;
}
.close__body .eyebrow { margin-bottom: 0; }
.close__body .lead { margin-top: 0; }

.close__closing {
  margin: 12vh auto 14vh;
  color: var(--ink-45);
  max-width: 24ch;
}

/* the one dark screen: a night ground behind the closing window, so the last
   photograph is seen against something other than chalk */
.close::before {
  content: '';
  position: absolute;
  left: 0; right: 0; top: 0;
  height: 62vh;
  background: var(--night);
}
.close .eyebrow { color: var(--sea); }

@media (max-width: 899px) {
  .close { padding-top: 8vh; }
  .close__frame { width: 88vw; }
  .close__body { padding-top: 3.5rem; }
  .close::before { height: 46vh; }
}