RetroArch is a frontend for emulators, game engines and media players.
Among other things, it enables you to run classic games on a wide range of computers and consoles through its slick graphical interface. Settings are also unified so configuration is done once and for all.
In addition to this, you are able to run original game discs (CDs) from RetroArch.
RetroArch has advanced features like shaders, netplay, rewinding, next-frame response times, runahead, machine translation, blind accessibility features, and more!
RetroArch/Libretro is an open-source project and has been around since 2012. It has since served as the backend technology to tons of (unaffiliated) platforms and programs around the world.
Get RetroArch Try RetroArch Online
Here’s a short draft piece for The Bay (Season 3, Episode 5), written as though it’s a review or recap, with a focus on the episode’s sonic detail about the AIFF audio file.
The AIFF clip is never shown as a waveform on screen – only heard diegetically, once. It’s a bold choice that rewards close listening.
It’s a smart, quiet pivot for a show that often trades in rain-lashed violence. The file, recovered from a dead sound engineer’s vintage Mac, contains a 48kHz recording of a local politician’s alibi falling apart mid-sentence. No MP3 compression artefacts. No lost data. Just the raw, unflinching truth – including a faint background splash that places him on the promenade the night of the Marina murder, not at home.
The B-plot struggles to match this intensity – DS Karen Hobson’s custody battle feels like filler – but every time we return to Jenn’s headphones, the tension spikes. When she finally plays the file in the interview room at 38 minutes, the suspect’s face doesn’t drop. It just… stops. Like a corrupted file. Except this one plays perfectly.
Director Robert Quinn uses the audio’s purity as a metaphor. The Bay has always been about what’s left when you strip away surface noise – family loyalties, seaside gentrification, police procedure. Here, AIFF becomes the episode’s moral axis: lossless, unforgiving, impossible to edit without leaving a trace.
The fifth episode of The Bay ’s third season opens not with a bang, but with a file type. DI Jenn Townsend (Marsha Thomason) sits in her cramped office at the Morecambe station, headphones on, staring at a forensic report. On her screen: an audio file – uncompressed, pristine, and deeply suspicious.
A fascinating, tech-savvy bottle episode that finds horror in high fidelity. 4/5
RetroArch is available for download on a wide variety of app store platforms.
NOTE: Functionality can sometimes be different from that of the version available for download on our website. We sometimes have to conform to certain restrictions and standards that the app store platform provider imposes on us.
RetroArch/Libretro has over 200 cores, and the list keeps expanding over time. These include game engines, games, multimedia programs and emulators.
OpenLara is an early Tomb Raider game engine recreation.
Core available now for Windows/Linux.
For more information, read our article on this release here. the bay s03e05 aiff
It uses the original data files in order to work. What is nice about this one is that it has some very fancy graphics effects added on top of the old game engine without it resulting in any stylistic clashes.
LRPS2 is a PlayStation2 emulator. It has a brand-new Vulkan-powered LLE renderer called ParaLLEl GS.
ParaLLEl-GS' goal is to be as accurate as software rendering but using the GPU instead of the CPU. Thanks to this we can also do enhancements which would be too slow to do on software, such as supersampled antialiasing and other enhancements. Here’s a short draft piece for The Bay
For more information, read our article on this release here.
DOSBox Pure is an easy-to-use plug and play version of DOSBox written specifically for Libretro/RetroArch. It supports MS-DOS and Windows 9x games. You can use savestates and even rewind. Automatic game detection with custom gamepad to keyboard mapping for many DOS games. It’s a smart, quiet pivot for a show
For more information, read our article on this release here.
PX-68K is a Sharp X68000 emulator. This is a Japanese home computer from the late '80s/early '90s that was used by Capcom as devkits for their arcade games. It played host to many popular games from the likes of Namco, Konami and Capcom.
Core available now for Windows, macOS, Linux, Android and iOS.
For more information, read our article on this release here.
RetroArch has been first to market with many innovative features, some of which have became industry standard. Because of its dynamic nature as a rapidly evolving open source project, it continues adding new features on an annual basis.
Here’s a short draft piece for The Bay (Season 3, Episode 5), written as though it’s a review or recap, with a focus on the episode’s sonic detail about the AIFF audio file.
The AIFF clip is never shown as a waveform on screen – only heard diegetically, once. It’s a bold choice that rewards close listening.
It’s a smart, quiet pivot for a show that often trades in rain-lashed violence. The file, recovered from a dead sound engineer’s vintage Mac, contains a 48kHz recording of a local politician’s alibi falling apart mid-sentence. No MP3 compression artefacts. No lost data. Just the raw, unflinching truth – including a faint background splash that places him on the promenade the night of the Marina murder, not at home.
The B-plot struggles to match this intensity – DS Karen Hobson’s custody battle feels like filler – but every time we return to Jenn’s headphones, the tension spikes. When she finally plays the file in the interview room at 38 minutes, the suspect’s face doesn’t drop. It just… stops. Like a corrupted file. Except this one plays perfectly.
Director Robert Quinn uses the audio’s purity as a metaphor. The Bay has always been about what’s left when you strip away surface noise – family loyalties, seaside gentrification, police procedure. Here, AIFF becomes the episode’s moral axis: lossless, unforgiving, impossible to edit without leaving a trace.
The fifth episode of The Bay ’s third season opens not with a bang, but with a file type. DI Jenn Townsend (Marsha Thomason) sits in her cramped office at the Morecambe station, headphones on, staring at a forensic report. On her screen: an audio file – uncompressed, pristine, and deeply suspicious.
A fascinating, tech-savvy bottle episode that finds horror in high fidelity. 4/5