The shift to LCD screens brought pinball into the HD era. Where a Plasma offered 128×32 pixels in a single orange color, a modern LCD backbox display runs at 1920×1080 or higher, capable of playing back video footage, layered animation, and real-time rendered graphics indistinguishable from a console game. Jersey Jack Pinball’s The Wizard of Oz (2013) demonstrated what was possible; within a few years, large-format LCD panels had become the industry standard.

Stern, Spooky Pinball, American Pinball, and virtually every major manufacturer now ships machines with LCD displays ranging from 15 to 32 inches, often supplemented by secondary LCD panels on the playfield itself. Licensed themes that once required creative dot-matrix animation to suggest their source material can now show actual movie clips, television scenes, and studio-quality art. The backbox has become a full-resolution canvas.

The transition has not been without debate. Critics argue that high-definition video overwhelms the physical playfield, that the LCD screen’s brightness and detail pull the eye away from the ball rather than complementing the action. Advocates counter that the medium should use every available technology, and that the best modern designers integrate display and playfield as a unified experience rather than two competing elements. The argument is ongoing — and entirely appropriate for a medium that has been arguing about its own nature since the first flipper appeared in 1947.