This Old Neon represents the creative clash between low- and high-technology, glowing ions pulsing through thin glass tubes. It recalls the glint of silver pinballs and darkened corners of arcade halls, the cartridge plastic and pixel flicker familiar like a worn-in coat. But the past informs the future, and state-of-the-art machines running retro games on plasma screens evoke that prolific and captivating binary, old and new.
Whether by joystick or touchscreen, tangled cable or fibre-optic line, our relationships with games, society, and each other are connected. This Old Neon explores the operation of video games as cultural media. We are keenly interested in how games and gaming generate meaning, how nostalgia colours modern contexts, and how cutting edge technology shapes identities and social experiences.
We are not journalists, and do not focus on breaking news or traditional investigative reporting. We are not public relations, and do not build hype for developers, publishers, or other industry entities through coverage of upcoming releases or events. We are not consumer advocates, and do not promote products or services or help readers decide how to spend money, besides the obvious incidental ways in which insights gleaned from analysis influence interest.
We are cultural critics. We recognize that the production and consumption of media in general and video games in particular are culturally, historically, and socially rooted. We do not aim to politicise video game analysis; rather, we seek to interpret and interrogate the assumptions and ideologies that underlie the already political status quo.
Our mandate is to explore both the disparate influences that contribute to the creation of gameplay experiences and the intersections between gaming and culture at large. We look for the human stories behind games, and the stories of humanity that gaming uniquely enables.