The mid-1970s pinball backglass is a sheet of glass screen-printed in reverse, built from six to twelve separate colour layers and lit from behind by bulbs in a darkened arcade. Bally, Gottlieb and Williams artists like Dave Christensen pushed saturation to its limit — flaming oranges and hot reds floating over heavy black outlines and a deep black field.

Psychedelic fantasy and pin-up illustration crowd every inch, framed by score panels and bonus number windows that the machine lights from within. This is a system about glow: flat colour separations, halftone screens, and an unapologetic blaze of warm light against the dark.