The casinos were dazzling to the point of being awe-inspiring, each trying to outshine, outglitz its neighbors. Though there was no “sunlight” on the station, the massive, circular main corridor needed no streetlights, nor did the electric shuttle vehicles moving tourists from destination to destination require headlights. The same artificial gravity which kept the buildings to four stories or less, forcing the casinos to spread out rather than up, was actually a boon to designing their exterior light displays. Freed of the physics of engineering, by the abruptly lessening gravity above the buildings, the casinos’ light displays were spectacular, as they almost floated in the “air,” fighting for the attention of passing tourists. These displays around “the Strip” kept the station’s interior lit to near-daylight brightness-near daylight as the wattage was carefully controlled to create an illusion of darkness above the casinos, thus enhancing the effectiveness of the light shows. There was no day or night on Lorelei, only a perpetual twilight through which the tourists, vacationers, and, of course, gamblers walked, rode, or, eventually, staggered in their pursuit of pleasure. The only concession to normality was that the rooms in the casino hotels all had blackout curtains, so that one could shut out the light when, and if, one wanted to sleep.
Of course, the carefully maintained illusion on Lorelei was that no one slept. The casinos never closed, and neither did the restaurants or shops. Entertainment booked to lure people into one casino or another was simply advertised as “every three hours” rather than specific showtimes.