@charset "UTF-8";
/* ==========================================================================
   Japanese.

   Loaded only on /ja/ pages. It changes two things and deliberately nothing
   else: the typefaces, and the line breaking. The palette, the rhythm and the
   layout are the magazine's and stay identical, because a reader who arrives
   from the Japanese card news and then clicks through to English should not
   feel they have left the publication.

   No webfont. Fraunces and Inter carry no Japanese glyphs, and the obvious fix
   is Noto Sans JP from Google, which is 4MB across the subsets and would send
   every Japanese reader's IP to Google on a medical page. The system stack
   below covers macOS, iOS, Windows and Android with faces those platforms ship
   and have already loaded, which is both faster and quieter.
   ========================================================================== */

:root {
	/* Order matters. Hiragino for Apple, Yu Gothic for Windows 8.1 and later,
	   Noto Sans JP where a user or an Android device has it, Meiryo as the
	   floor for older Windows. `system-ui` is deliberately not first: on a
	   Japanese Windows it resolves to a UI face that looks wrong at reading
	   sizes. */
	--sans-ja: 'Hiragino Sans', 'Hiragino Kaku Gothic ProN', 'Yu Gothic Medium',
		'Yu Gothic', 'Noto Sans JP', Meiryo, sans-serif;

	/* v5: the English display face is a heavy grotesk, so the Japanese
	   display face is heavy gothic, not Mincho. Same voice, both scripts. */
	--serif-ja: 'Hiragino Sans', 'Hiragino Kaku Gothic ProN', 'Yu Gothic',
		'Noto Sans JP', Meiryo, sans-serif;
}

body {
	font-family: var(--sans-ja);

	/* Japanese sets denser than Latin at the same point size and needs more
	   leading to stay readable. 1.65 is right for Inter and tight for Hiragino. */
	line-height: 1.85;

	/* Kerning tables built for Latin do the wrong thing to kana pairs, and
	   tabular numerals are the reason the English body sets `tnum`; neither
	   helps here. */
	font-feature-settings: normal;
	font-kerning: normal;
}

/* Japanese has no spaces, so a browser may break a line anywhere, including
   inside a word that reads as one unit. `word-break: keep-all` and a strict
   line-break stop it splitting where a Japanese reader would not. The same
   rule is already the house standard for Korean copy elsewhere. */
h1, h2, h3, h4,
.mast__name, .intro__h, .lede__h, .lead__h, .card__h, .item__h, .art__h,
.rec__h, .tcard__h, .feat__h, .band__name, .verify__h, .limits__h {
	font-family: var(--serif-ja);
	word-break: keep-all;
	overflow-wrap: anywhere;   /* a long katakana run still has to fit 320px */
	line-break: strict;
	line-height: 1.5;

	/* Japanese headings do not need the optical tightening a Latin display
	   serif wants, and inherited negative tracking closes the kana up. */
	letter-spacing: 0;
}

/* Body copy breaks the same way, one notch looser. */
p, li, dd, figcaption, .lead__sum, .card__sum, .item__sum, .tcard__sum {
	word-break: normal;
	overflow-wrap: anywhere;
	line-break: strict;
}

/* Small tracked-out Latin labels are set in the Latin grotesk on purpose:
   the section labels and buttons are often still English words, and Hiragino
   sets Latin capitals poorly at 13px. (v5: the Latin display face.) */
.sec, .band__h, .foot__h, .byline__when, .item__date, .langs {
	font-family: var(--serif), sans-serif;
}

/* Numerals and registration numbers stay in the Latin face so the footer's
   facilitator number and the clinic's figures line up as they do in English. */
.facts dd, .foot__reg, time {
	font-feature-settings: "tnum" 1;
}

/* The measure. 68ch of Hiragino is a much longer line than 68ch of Inter,
   because a CJK glyph is a full em wide. Japanese reading research puts the
   comfortable line at roughly 40 characters, so the body column narrows. */
.art__body > *,
.tbody > * {
	max-width: 42em;
}

/* ------------------------------------------------------------ casa brutus
 * v4.3. The Japanese display register, measured against Casa BRUTUS: CJK
 * display type reads a size larger and a weight heavier than Fraunces at the
 * same pixel, so the headline scale steps down one notch; `palt` closes the
 * full-width gaps kana punctuation leaves at display sizes and stays off
 * body copy, where full-width spacing is correct; the standfirst takes the
 * slight positive tracking a gothic deck carries in print; and paragraphs
 * breathe a little more, because a denser script needs the white space
 * between blocks that the Latin page gets inside its lines.
 * -------------------------------------------------------------------- */
.art__h, .lede__h, .rec__h, .lead__h {
	font-size: clamp(26px, 4.6vw, 44px);
	font-feature-settings: "palt" 1;
}
h2, .verify__h, .limits__h, .trust__h, .feat__h {
	font-feature-settings: "palt" 1;
}
.art__stand, .lede__b, .lead__sum {
	letter-spacing: 0.02em;
}
.art__body > p, .tbody > p {
	margin-bottom: 1.4em;
}


/* v5: gothic display weight, matching the Latin grotesk. */
.art__h, .lede__h, .lead__h, .rec__h, .feat__h { font-weight: 700; }