The smart home speaker market has settled into a familiar aesthetic. Smooth cylinders, matte finishes, and understated designs meant to disappear into a room are the default for most voice assistants. It’s a reasonable approach, but it also means most of them look exactly the same, and the hardware driving them tends to get replaced every couple of years, whether it actually needs to be or not.
HANDMAX Workshop took a different approach entirely. Rather than buying new hardware, the build starts with a Xiaomi Mi 8 already well past its prime, complete with a burned-in display, degraded speakers, and a failing battery. The processor and software capabilities were still perfectly usable, though, and that turned out to be all this kind of project actually needs.
Designer: HANDMAX Workshop
The case is where things get interesting. Instead of a sleek enclosure meant to blend in, the HANDMAX design goes full retro television, with a front grille, physical control buttons, and decorative legs completing the picture. Carefully modeled 3D-printed parts handle the practical side of things, accommodating the phone’s sensors and camera while keeping the vintage illusion intact from every angle you look at it.
Put it on a desk, and you have a smart speaker that looks like something rescued from a garage sale, in the best possible way. Ask it a question, and Google Gemini handles the conversational side, pulling in responses without needing a dedicated microprocessor or a new development board. It’s the same AI model powering higher-end commercial devices, running on hardware that would otherwise be sitting in a drawer.
The smart home integration is what makes it genuinely useful beyond being a conversation piece. Through Google Home, the device can control smart home accessories directly, and custom routines let voice commands trigger specific actions around the house. Turning lights on, adjusting a thermostat, or running a sequence of automations becomes a spoken instruction directed at what looks like a miniature television set.
Getting there wasn’t entirely straightforward. The phone’s Bluetooth module had a habit of shutting itself down after 20 minutes of silence, which would quietly cripple the whole setup. The fix was characteristically clever, though; an inaudible 6 Hz tone runs constantly in the background, imperceptible to human ears but enough to convince the firmware that the system is still in use and shouldn’t shut down.
Beyond voice interaction, the finished device also functions as a wireless charger and a desktop display, which means it earns its counter space even when no one is talking to it. The final hardware list doesn’t include a single new component, just old parts that most people would have discarded without a second thought. That’s the more interesting design challenge of the two.
There’s an argument to be made that the best AI hardware isn’t always the most expensive, and this project makes it quietly. Commercial smart speakers are bought, used for a few years, and eventually replaced. A device built from broken hardware doesn’t follow that lifecycle, and the retro TV case that holds it together makes sure it doesn’t look like it’s trying to.
Music used to take up space in the most satisfying way. There was a record sleeve to pull from a shelf, a cassette to slot into a deck, a disc to slide into a tray. Each was a small, deliberate act that made listening feel like a choice rather than a background default. Streaming replaced all of that with convenience, and something tactile and visual quietly disappeared along the way.
Samsung Design seems to think that loss is worth addressing. At Milan Design Week 2026, it presented Visual Audio, a collection of music player concepts that reinterpret the forms of LPs, cassettes, and CD players through tailored displays. Rather than smart speakers with screens bolted on, they’re objects designed to make listening visible again, giving digital music a presence that largely disappeared with the vinyl era.
Designer: Samsung Audio
The appeal of analog formats was never really about fidelity. It was about having something to look at while the music played, a record spinning on a platter, tape reels turning inside their housing, a disc glowing in a transparent tray. Each gave listening a visual rhythm you could follow without thinking. Streaming quietly removed all of that, leaving the experience invisible in a way that’s only grown more obvious.
Visual Audio addresses this with objects that are clearly players but also clearly more. One recalls the boxy silhouette of a cassette deck, its screen animating spinning reels as the music plays. Another takes the form of a circular piece that simulates vinyl in motion, with a rotating label at the center. Each has a visual identity tied to the analog format it evokes, and that’s very much the point.
What these objects do differently from regular speakers or streaming devices is make playback legible. When something is playing, you see it happening. The interface isn’t a generic progress bar on an app; it’s a reel turning, a record label spinning, album art presented in a way that matches the physical form of the device. That makes sitting down to listen feel more like an occasion than a habit.
There’s also how these pieces actually live in a room. A speaker that looks like a cassette deck or a miniature turntable doesn’t need to be tucked in a corner; it contributes to the space around it, the way a record collection or a well-placed audio rack once did. Keep one on a desk, and it quietly communicates something about taste and how seriously you take the act of listening.
None of the Visual Audio concepts are headed for retail, and Samsung Design is upfront about that. They’re experiments, open questions about what music players could look like if they treated the emotional intelligence of analog formats as a design priority. The interesting thing is how specific and considered they are for objects not going anywhere near a store, which suggests this line of thinking goes beyond the exhibition itself.
Film cameras have had a strange little comeback, and not in the way anyone expected. It’s not that people find waiting days for developed photos convenient. It’s that pulling a mechanical viewfinder to your eye still feels more deliberate, more personal, than tapping a glass screen. Vintage bodies from the 1970s and ’80s have become far more desirable again than they were a decade ago.
The obvious problem is the film itself. Processing costs have climbed, lab turnaround times can stretch into weeks, and there’s always that faint dread of discovering a whole roll came out underexposed. I’m Back Roll tries to address that without asking you to give up the camera you actually love. The idea is to keep the body intact and quietly swap out what goes inside.
What goes inside is a digital roll the size of a standard film cartridge, housing an APS-C sensor positioned in the film gate. Close the camera back, and almost nothing looks different from outside. No rear screen, no clunky attachment bolted to the body. The only visible concession to the digital world is a small Bluetooth remote that clips near the winding lever.
That remote is how you synchronize the digital sensor with the mechanical shutter, pressing it just before you fire. It sounds fiddly at first, but it also reinforces the whole point. There’s no live view to second-guess yourself with, no image to review immediately after. You shoot, move on, and download everything wirelessly later. That’s closer to how film photography actually felt than most digital cameras manage.
At the heart of the roll is Sony’s 26.1 MP APS-C IMX571 sensor, the same sensor family also used in astronomy cameras, where low-noise performance matters. It sits inside a CNC-machined aluminum body designed for heat dissipation, with up to 256GB of internal solid-state storage and both Wi-Fi and Bluetooth for transferring images once you’re done shooting.
The battery follows the same logic as a film roll, sitting in the film chamber where a cartridge would normally live. It’s interchangeable, so you can swap in a fresh one mid-session the same way you’d load a new roll. That’s a small but genuinely clever bit of design thinking, because it doesn’t ask the camera to pretend it’s something it was never built to be.
An old Nikon F3 or a Contax G2 becomes a genuinely different camera with the I’m Back Roll inside, without actually looking any different on the outside. From that point, it shoots RAW and JPEG files across an ISO range of 100 to 6400, with presets inspired by classic film stocks and brands, including Fujifilm and Ilford, for anyone who wants some of that analog character in the output.
There’s something appealing about the idea of pulling a camera out of a drawer and actually using it again. The roll works with most 35mm bodies from major brands, including Nikon, Canon, Pentax, and Leica, though cameras where the back opens from bottom to top may need a custom rear panel. Many classic 35mm bodies can accommodate it, though some may need the pressure plate removed or a custom rear panel.
Of course, the two-step shooting process, activating the sensor before triggering the shutter within a second or two, is going to feel less natural to some. Someone who relies on live view or reviews every frame would need to adjust expectations considerably. The rhythm here is slower and more committed, which is either the whole point or the main reason to look elsewhere.
What I’m Back Roll is really arguing is that cameras collecting dust on shelves aren’t finished. The lenses are still sharp, the mechanics are still smooth, and the experience of using them is still genuinely different from anything modern. Slipping a digital core inside doesn’t change any of that. It just means those cameras might actually get used again, which feels like the better outcome.
Most portable speakers these days are designed to disappear. They’re compact, wireless, and largely anonymous, blending into whatever surface they rest on until a voice command kicks things off. Music has become a background utility, something that happens to you rather than something you actively choose. The ritual of physically engaging with sound has faded quietly, replaced by convenience that’s smooth, automatic, and almost entirely invisible.
The BB-777 from Bumpboxx addresses that shift in a very deliberate way. Inspired by the legendary GF-777 of the ’80s, it brings back the classic boombox in a form that captures the unmistakable look and feel of the original, while updating everything under the hood. It’s the kind of design that immediately signals its intent: put music back at the center of the room, loud and visible.
Part of what makes the BB-777 so compelling is just how much it commits to the aesthetic. The wide, horizontal body stretches 29.6 inches across, with dual cassette bays, a central control section, a long analog tuner strip, and four large drivers across the lower half. Paired with two telescoping antennas and a carry handle, the whole thing stays true to the iconic boombox design of the ’80s, built to be seen, not tucked away.
What really sets the experience apart, though, is how it feels to operate. Bass, treble, balance, and master volume are shaped through solid knobs that respond instantly, giving a direct connection to the music. Each adjustment is tactile and precise, bringing back the simple satisfaction of tuning sound with real hardware. There’s also a wireless remote for those moments when you’d rather adjust the sound from across the room without getting up from wherever you’ve settled in.
Then there’s the format support, and it’s where the BB-777 truly stands apart from other retro-styled speakers. It plays dual cassette tapes, loads CDs, tunes the radio, and connects via AUX, USB, or Bluetooth. It also handles CD-R and CD-RW discs, AM, FM, FM stereo, and shortwave radio. Old mixtapes, burned discs, streamed playlists, and radio stations all coexist in one machine without any compromise.
Beyond playback, the BB-777 brings old recordings back to life. Audio from cassettes, CDs, or radio can be recorded directly to a USB drive as clean WAV files, turning a retro boombox into a straightforward way to digitize your favorite recordings. The cassette deck supports cassette-to-cassette dubbing at high speed, and a built-in microphone with dual wired mic inputs and echo and volume controls means it handles voice recordings and live sessions just as comfortably.
Of course, the sound system is equally serious and modern. Inside the wide enclosure sits a 270W system built for bold, room-filling audio, with a 3-way setup featuring dedicated isolated woofers, full-range drivers, and horn tweeters delivering deep bass, clear mids, and sharp highs. The internally chambered housing with bass ports and a fan-cooled amplifier round out an acoustic architecture built for real performance. The low end carries genuine weight, and the highs cut through cleanly.
Running all of that for up to 15 hours is a TSA-approved 97.6 Wh Li-ion rechargeable and interchangeable battery pack. With a 4-to-6-hour recharge window and 100 to 240V multi-voltage input, the battery can be charged either inside the unit or separately, and keeping a spare means the music never has to stop. It’s a smart upgrade from vintage boomboxes, which drained stacks of D batteries far faster than anyone expected.
For those wanting a bigger setup, two BB-777 units can be paired via TWS for true stereo sound, with dedicated left and right channels working together for deeper, more immersive audio across every format. The 100 to 240V AC input makes it ready for use almost anywhere in the world, with no voltage converters needed. It comes in Classic Silver, Radical Red, and Onyx Black, with removable magnetic front grills and a shoulder strap included.
What the BB-777 ultimately offers is something most audio products stopped trying to give people a long time ago: the feeling that music occupies real space. It sits in a room with a presence that commands attention, rewards the people who use it with a physical connection, and carries enough history in its silhouette to feel like it genuinely belongs to culture, not just a shelf.
There’s a particular visual language that 1980s science fiction used for technology. It was chunky, industrial, and slightly alien in form, the kind of hardware that felt like it belonged on a spaceship more than in a pocket. That aesthetic has been largely absent from consumer electronics for decades, replaced by sleek glass rectangles and matte aluminum that all end up looking roughly the same.
A maker going by Yutani on Reddit has built something that resurrects that forgotten design language in the form of a functional digital camera. It’s called the Saturnix, and the concept is simple but strange: what would a camera look like if it were designed in the 1980s, not to look like what cameras looked like then, but to look like what cameras were imagined to eventually become?
The body is 3D printed and draws clear inspiration from the science fiction hardware of that era, specifically the industrial aesthetic of films like Alien. It’s chunky and deliberate by design. The five control buttons use mechanical Kailh switches, a choice the creator was specific about: “a camera should feel like a real tool, not a touchscreen.” The tactile feedback from each press reinforces exactly that.
Inside, the Saturnix runs on a Raspberry Pi Zero 2W paired with a 16-megapixel Arducam IMX519 autofocus sensor and a 2-inch IPS LCD viewfinder. It captures RAW and JPG simultaneously, with full manual controls covering shutter speeds from 30 seconds to 1/4000, ISO from 100 to 3200, and white balance and exposure compensation adjustments. Three autofocus modes round out the shooting options.
The film simulation engine is what separates the Saturnix from other DIY camera builds. Six presets are available, all processed on-device with no apps or cloud services involved. You can shoot with profiles mimicking Kodak Gold’s warm analog tones, the hyper-saturated punch of Kodak Ektar 100, the cool greens of Fujifilm 400, and the rich grain of Kodak Tri-X 400 black and white.
Filter: Kodak Gold
Filter: Fujifilm 400
Photo transfers happen via a built-in Wi-Fi hotspot, keeping the entire process completely self-contained. The entire project is open source. The code, STL files for the 3D-printed case, and sample outputs from each film simulator are all available on the Saturnix GitHub page under MIT and Creative Commons licenses, meaning anyone with a printer and the right components can build one. A firmware release hasn’t shipped yet, but the creator is actively developing it.
Filter: None
The Saturnix doesn’t compete with commercial cameras on paper, and it doesn’t try to. What it does is offer something most cameras, cheap or expensive, don’t bother with anymore: a strong point of view about what a camera should feel like to hold, use, and look at, from a set of aesthetics that mainstream design long since walked away from.
There’s something quietly odd about the era when Apple products were beige. Not bad, just odd. The Macintosh 128K, the boxy rectangular mouse, the Apple Lisa; they were made from a warm off-white plastic that aged into something stranger, a color that collectors now call “Pantone 453 approximately.” Spigen, a brand that usually channels its energy into clear polycarbonate shells, has decided this particular slice of computing history deserves a second life on your keychain.
The Classic LS AirPods Pro 3 case is the latest piece of Spigen’s retro-Mac collection, which launched in January 2026 with an iPhone 17 case modeled after the Macintosh 128K and Apple Lisa. The AirPods case takes a narrower reference: the original Apple mouse, that flat, single-button input device that became an icon despite being spectacularly simple. It joins a phone strap and a MagFit wallet styled as a floppy disk reader, completing a four-piece set.
The case borrows the mouse’s proportions, its warm stone-colored plastic, and its most tactile feature. Spigen built a “Push to Unlock” locking mechanism into the front, positioned where the mouse button would have been. Press it and the hinged lid releases; snap it shut, and it clicks back into place. It’s a small mechanical gesture, but it makes opening and closing feel deliberate rather than accidental.
That security matters more than it sounds. For anyone who has found a lidless AirPods case rattling loose at the bottom of a bag, the locking mechanism is a genuine practical improvement over standard cases. The AirPods don’t pop out unexpectedly, and the lid doesn’t spring open on its own. An adhesive strip inside connects the lid to the top of the AirPods case, so the whole assembly opens cleanly as one unit.
The shell itself is polycarbonate, reinforced with what Spigen calls Air Cushion Technology, an internal structure designed to absorb impact at the corners and edges. The case wraps the AirPods Pro 3 charging case completely, with a cutout at the bottom for USB-C wired charging and a clear path through the back for wireless charging. Both work without removing the case.
A braided lanyard comes included, threading through a loop on the side. This isn’t just a piece of decoration, as small charging cases have a remarkable talent for disappearing into coat pockets and bags, and a physical tether is a more reliable retrieval system than searching by feel. The Classic LS case retails for $44.99, which places it comfortably in the broader collection alongside the $40 MagFit wallet and well below the $60 iPhone case that started it all.
There’s a certain kind of person who loves the idea of vinyl records without necessarily owning a turntable. They appreciate the artwork, the ritual of flipping a side, the warm analog aesthetic that streaming services have spent years trying to replicate with album art thumbnails and animated soundwave graphics. For that person, and honestly for plenty of actual vinyl collectors too, LEGO quietly released one of its more charming sets of 2024, and a lot of people missed it entirely.
The LEGO 40699 Retro Record Player wasn’t sold in stores. It was a gift-with-purchase exclusive during LEGO Insiders Weekend in November 2024, meaning you had to spend $250 or more on LEGO.com within a two-day window to take one home. That’s a steep entry point for a 310-piece set that fits in the palm of your hand. Unsurprisingly, it’s now showing up on secondary markets for around $50, which tells you more about how people actually feel about it than the promotional circumstances suggest.
What makes it interesting as a design object isn’t the scarcity. It’s the details LEGO chose to include for a freebie that most buyers would have been happy to receive with far less effort. Every single element in the set is printed, no stickers anywhere, including new tile pieces featuring equalizer bars and musical note graphics that were debuted specifically for this set.
The needle swivels and can be tucked behind a small antenna piece when not in use. Flip it around, and there are printed red, white, and grey ports on the back representing stereo channels, details that nobody asked for and that audio enthusiasts will immediately clock. A hidden gear underneath lets the record actually spin, which is either a delightful touch or a reminder that LEGO designers genuinely cannot help themselves.
The set slots into a growing line of brick-built nostalgia objects LEGO has been developing with some consistency. The Retro Radio, the Typewriter, the Polaroid OneStep Camera, each one picks a specific object from cultural memory and asks whether it still means enough to someone to sit on a shelf. The record player fits that pattern, though its scale is more playful than faithful. Closed, it measures about 1.5 inches high and 6 inches wide, so it’s not pretending to be a replica. It’s more like a knowing nod to the thing, compressed into something you can place next to a real turntable or a stack of records and let it be what it is.
The timing of its renewed attention is interesting. Search interest in record players has spiked noticeably in early March 2025, and the LEGO set has moved with it, picking up momentum in trend data well after its promotional window closed. That’s a pattern worth watching with this category of LEGO set. They’re not designed to chase a specific cultural moment. They’re designed around objects durable enough in people’s memories to stay relevant across multiple ones.
Whether a 310-piece brick turntable that doesn’t play music belongs in the same conversation as the real vinyl revival is a fair question. What’s harder to dismiss is that a set distributed as a promotional freebie is generating genuine collector interest months later, and that LEGO apparently left enough room in the design for people to discover details they weren’t expecting to find.
At some point in the last couple of years, something quietly shifted in the gaming world. Not in the blockbuster, billion-dollar-franchise sense, but in the more personal, “why am I actually having more fun with this tiny device than my main console” sense. Search interest in retro gaming handhelds jumped 400% year-over-year, hitting 90,500 monthly searches in January 2026 alone. That’s not a blip. That’s people rediscovering something they forgot they wanted, and then telling everyone they know about it.
What’s driving it isn’t hard to understand. Modern gaming has gotten heavy, with big installs, long tutorials, and games that feel like part-time jobs. A retro handheld sidesteps all of that. You pick it up, you’re playing something in thirty seconds, and it fits in your jacket pocket. The designs themselves have become worth caring about, too, from machined aluminum bodies to translucent clamshells to square screens that look like props from a ’90s anime. These aren’t budget toys. Some of them are genuinely beautiful objects that happen to play games. Here are seven that are worth your attention.
Anbernic RG Cube: The one with the square screen that somehow works
The first thing you notice about the RG Cube is the screen shape, a perfect square, and your brain immediately goes: that can’t be right. Gaming moved to widescreen fifteen years ago. A 1:1 display in 2024 looks like a design mistake, or at best a gimmick. It is neither. The 3.95-inch IPS panel at 720×720 turns out to be native to more retro games than you’d expect, with Game Boy, arcade titles, and Nintendo DS with dual-screen stacking all living here without compromise.
The broader package is hard to argue with. An octa-core Unisoc T820 processor and 8GB of RAM run Android 13, with emulator support up through PS2 and GameCube, though more demanding titles on those systems will push its limits. The asymmetric thumbstick layout borrows from the Steam Deck playbook, and the Saturn-inspired D-pad is precise without drama. At around $170, it comes in Beige White, Radiant Purple, Black, Grey, and the radiant purple has no right looking as good as it does.
What we liked
Square 1:1 screen is genuinely ideal for Game Boy, arcade, and DS emulation
RGB lighting and color options make it a genuinely attractive object
What we disliked
Widescreen games require letterboxing or aspect-ratio compromise
Demanding PS2 and GameCube titles push the processor to its limits
ModRetro Chromatic: The Game Boy Color that Nintendo never made
There’s a version of this product that could have been embarrassing: a magnesium alloy Game Boy Color clone bundled with a new Tetris cartridge, sold at $199. On paper, it sounds like a premium nostalgia trap. In practice, it’s one of the most carefully considered handheld devices released in years. It’s FPGA-based, meaning it reconstructs the Game Boy hardware at the circuit level rather than emulating it in software, which produces zero input latency and a millisecond-accurate match to original hardware behavior.
The physical design earns its price in ways spec sheets can’t capture. The curved battery compartment gives your hands something to grip. A physical volume wheel, a detail so obvious it’s shocking how rarely it appears on modern devices, lets you kill the sound without touching a menu. Colors run from Inferno and Bubblegum to a very wearable Wave blue, with English or Japanese button labeling as an option. It plays physical Game Boy and Game Boy Color cartridges only, which is either a dealbreaker or a feature, depending on how you think about focus.
What we liked
FPGA hardware delivers true zero input lag, not a software approximation
Magnesium alloy shell feels premium and genuinely durable
Comes bundled with a new Tetris cartridge
What we disliked
Plays only Game Boy and Game Boy Color cartridges, no ROMs or other systems
AA battery requirement adds ongoing cost; rechargeable Power Core is sold separately
Analogue Pocket: The one photographers keep picking up
The Analogue Pocket is the device that made the retro handheld conversation respectable. It uses an FPGA rather than software emulation and plays Game Boy, Game Boy Color, and GBA cartridges out of the box. Via cartridge adapters, it adds Game Gear, Neo Geo Pocket Color, Atari Lynx, TurboGrafx-16, PC Engine, and SuperGrafx. Via its microSD slot and the OpenFPGA community platform, it loads cores for nearly every retro system that ever existed. The 3.5-inch LCD at 1600×1440 and 615 ppi is, simply, one of the sharpest displays ever put in a handheld.
At $239, it sits at the premium end of this list, and it’s also frequently out of stock. Firmware updates require a microSD card reader, which feels like friction that shouldn’t exist on a $239 device. TV output needs the separately sold $99 Dock. These aren’t dealbreakers so much as signals that Analogue built this for the dedicated enthusiast first. If you want one device to handle everything in your retro library for the next decade, this is probably it.
What we liked
OpenFPGA community support covers an enormous range of retro systems
Plays GBA in addition to GB and GBC, plus many more with adapters
MicroSD slot enables ROM loading
Premium aluminum build with a distinctly modern design language
What we disliked
Frequently out of stock; restocks sell out within minutes
Firmware updates require an external microSD card reader
TV output requires a separately purchased $99 Dock
Retroid Pocket Flip 2: The clamshell that brought the GBA SP back with PS2 power
The GBA SP was the handheld that arguably peaked the clamshell form factor: it folded, it protected its own screen, and it had a backlit display before that was standard. The Retroid Pocket Flip 2 arrives in 2025 with that same closing-hinge energy, but with a 5.5-inch 1080p AMOLED screen, a Snapdragon 865 processor, and enough emulation horsepower to run PlayStation 2, GameCube, and Wii. When closed, it has roughly the same desk footprint as a modern smartphone. Closing the lid puts it to sleep; opening it wakes it up.
Color options include a translucent Ice Blue, GameCube Purple, a two-tone 16-bit US, and Black. Retroid clearly understands its audience. The AMOLED panel brings deep blacks and accurate color to games designed for CRTs, and the results are often striking for titles you’ve played a hundred times. At $229 for the Snapdragon variant, there is no meaningful clamshell competitor at this performance level. One persistent note from extended use: the form factor rewards shorter sessions more than marathon ones, which is maybe appropriate for a device meant to live in a bag pocket.
What we liked
5.5-inch AMOLED at 1080p is impressive for the price
Handles PS2, GameCube, Wii, and Dreamcast emulation
Translucent Ice Blue colorway is a design highlight
What we disliked
Thicker than it looks in product photos
Extended sessions can feel less comfortable than flat handhelds
AYANEO Pocket Micro Classic: The one that fits in an actual pocket
The Game Boy Micro launched in 2005 as Nintendo’s most polarizing hardware decision. It was tiny, it was beautiful, it only played GBA games, and it was discontinued within a year. Design historians were kinder to it than the market was. The AYANEO Pocket Micro Classic is clearly in conversation with that history. It removes the analog joysticks, uses a CNC-machined aluminum alloy frame with a seamless all-glass front, and produces something that slides into a front jeans pocket without catching on anything.
The 3.5-inch borderless IPS display at 960×640 in a 3:2 ratio is built for GBA emulation, with 4x pixel-perfect upscaling. Available in Obsidian Black, Charm Red, Vintage Grey, and Gold, each colorway has a different character. The Gold skips “gaming device” and lands somewhere closer to “considered object.” The MediaTek Helio G99 handles everything up through PS1 confidently. If your retro library is 8-bit and 16-bit with a strong GBA presence, the Pocket Micro Classic is probably the most beautiful way to play it.
What we liked
CNC aluminum and all-glass build is genuinely premium for the category
No joysticks make it notably slimmer and more pocketable
Android 13 with Play Store access expands utility beyond emulation
What we disliked
No joysticks limit N64, Dreamcast, and PSP playability
The original TrimUI Brick arrived in 2024 with an unusually sharp 3.2-inch IPS screen at 1024×768, giving it a pixel density of 405 PPI, a number that belongs on a premium smartphone, not a $55 device. The Brick Hammer edition, launched in 2025, replaces the plastic shell with a full CNC-machined aluminum alloy in Gunmetal Gray, Rose Gold, and Fluorescent Green. The metal shell doubles as a heatsink, dropping operating temperatures noticeably. Three interchangeable shoulder button sets ship in the box.
The software runs CrossMix OS on a Linux base: clean, fast, minimal overhead. Load your ROMs, pick a game, and play. Battery life lands around four to six hours. The processor handles Game Boy through PS1 without complaint; N64 gets through most titles; Dreamcast is inconsistent. The CNC backplate can be engraved, which no other device at this price point offers. The Rose Gold aluminum version sitting next to a MacBook on a desk looks less out of place than it has any right to, and that’s a strange and interesting thing to say about a $99 handheld.
What we liked
CNC aluminum Hammer shell runs noticeably cooler than the original plastic
Swappable shoulder buttons and engravable backplate are genuinely rare customization options
Rose Gold and Gunmetal colorways punch well above the budget tier
What we disliked
No analog joysticks, which limits 3D game compatibility
Dreamcast and demanding N64 titles run inconsistently
Miyoo Mini Plus (and Mini Flip): The one that started the whole obsession
If there’s a single device responsible for bringing this category to mainstream attention, the Miyoo Mini Plus is probably it. It weighs 200 grams, fits in a jeans pocket, has a 3.5-inch IPS screen at 640×480, and runs OnionOS, a community-built firmware that turns a modest Cortex-A7 processor into a near-perfect front end for everything from the NES to the original PlayStation. The interface is clean, the emulator library covers over a hundred platforms, and save states work the way save states should.
The Miyoo Mini Flip takes the same hardware and wraps it in a GBA SP-style clamshell, adding screen protection and an extra wave of nostalgia. Early production runs had hinge concerns, though those appear to have been addressed in more recent batches. At $69-99, this is the gateway to the category that doesn’t feel like a compromise. The honest question isn’t whether this device is worth the money, since it clearly is. It’s whether starting here will satisfy the itch, or simply make you want to own the other six devices on this list as well.
What we liked
Genuinely pocketable at 200g, fits in a jeans pocket without bulk
Covers NES through PS1 with confident performance
Mini Flip clamshell adds nostalgic GBA SP energy and screen protection
There is something quietly absurd about building a serious PC in the shape of a 1980s game console. Not absurd in a dismissive way, but more in the way that a very good idea sometimes sounds ridiculous until you see it sitting on a desk. The ACEMAGIC Retro X5 is exactly that kind of object: a compact Windows 11 Pro machine dressed in the rectangular geometry of classic cartridge-loading hardware, with a red power button where the reset button probably lived in your memory.
At 138mm x 128mm x 45 mm, the Retro X5 occupies roughly the footprint of a thick paperback. The body follows a black, white, and gray palette, with mechanical-style grilles cut into the cooling vents. A removable snap-fit panel lets you access the internals without tools, which signals something deliberate about the design: the whole thing is meant to be touched, handled, and opened rather than just admired from across a shelf.
Inside that nostalgic shell sits AMD’s Ryzen AI 9 HX 370, a 12-core, 24-thread processor paired with the Radeon 890M GPU running at 2,900 MHz. The base configuration ships with 32 GB of DDR5 5,600 MT/s memory and a 1 TB PCIe 4.0 NVMe SSD. For anyone who has watched mini PCs ship with soldered RAM and single storage slots for years, the two M.2 2280 slots, expandable to 4TB total, are a more practical detail than the retro styling gets credit for.
The port selection makes the Retro X5 less of a novelty and more of a credible desk workhorse. The front has two USB 3.2 Gen 2 Type-A ports, a USB4 Type-C, and a 3.5 mm audio jack. The rear adds two more Type-A ports, a second Type-C, dual 2.5 GbE Ethernet, HDMI 2.1, and DisplayPort 2.0; altogether, the machine supports up to four screens at once, with both HDMI and DP capable of 8K at 60 Hz.
ACEMAGIC also positions the Retro X5 around local AI workloads, citing support for models like DeepSeek R1 70B and LLaMA. The HX 370’s neural processing unit makes that plausible on paper, but running a 70B-parameter model on 32 GB of shared memory depends heavily on quantization levels. That distance between the spec sheet and actual large-model performance is the part that the product page, understandably, does not get into.
At $959 for the 32 GB and 1 TB pre-order configuration, the Retro X5 sits at the upper end of the mini PC category, where other AMD Strix Point machines without the retro treatment tend to start closer to $600 or even $700. The premium covers partly the HX 370’s stronger GPU tier and partly the design itself. Whether that casing reads as a charming object worth the difference, or just a clever coat of paint on familiar hardware, is probably the right question to ponder before hitting that Checkout button.
Long before today’s ultra-powerful handheld PCs began chasing console-grade performance in a portable shell, there was something undeniably charming about simpler gaming machines. The kind that fit easily into your pocket, turned on instantly, and transported you straight back to pixelated worlds without menus, downloads, or updates getting in the way. Honoring that era, the HyperMegaTech Super Pocket Rare Edition is here to bring cartridge-ready gaming to your pocket.
Developed by HyperMegaTech (who surprised us with the Micro Keychain Gamer) in collaboration with the British game developer Rare, the original Super Pocket is designed to make retro gaming accessible and refreshingly straightforward. Its vertical layout echoes classic handheld silhouettes, pairing nostalgia with modern practicality. A 2.8-inch IPS display with a 320 × 240 resolution sits at the center, offering sharp visuals suited to 8-bit and 16-bit titles.
What distinguishes the Super Pocket from many low-cost retro handhelds is its hybrid approach. Each edition ships with a curated lineup of pre-installed games, typically centered around a specific publisher or theme. Earlier versions celebrated arcade and console heavyweights such as Capcom, NEOGEO, Taito, Atari, and Data East, giving players immediate access to recognizable classics straight out of the box. The console runs on a 1.2GHz processor and is powered by a rechargeable battery that delivers roughly four hours of gameplay per charge. USB-C charging and a 3.5mm headphone jack round out the essentials, keeping the device practical for everyday use.
The upcoming Rare Edition expands that idea a step further. The Super Pocket Rare Edition, launching in June 2026, includes 14 classic titles from the legendary British developer Rare. The selection spans decades of the studio’s catalog, bringing fan-favorite experiences like Banjo-Kazooie, Battletoads, and Conker’s Pocket Tales into a compact, dedicated handheld format. For many players, this built-in lineup alone justifies the device.
Beyond the preloaded games, the Super Pocket is fully compatible with Evercade cartridges, significantly expanding its potential library. With more than 75 cartridge collections available and access to over 650 officially licensed retro games, users are not limited to the internal storage. This physical-media ecosystem adds a collector-friendly dimension rarely seen in modern budget hardware. If you are already in the Evercade ecosystem, this cross-compatible compact handheld is a no-brainer.
The Super Pocket does not attempt to rival high-end emulation handhelds or modern gaming consoles. Instead, it is a compact machine built purely for classic titles, free from distractions. For those who value tactile buttons, curated libraries, and the satisfaction of slotting in a physical cartridge, nothing gets better than this. In fact, the bright yellow shoulder buttons bring functional clarity and seamless sync with the design.
Despite the retro focus, the Super Pocket Rare Edition, in its signature vibrant blue, red, and yellow theme, remains competitively priced. It is expected to retail for around $69 in the United States, £49 in the United Kingdom, and €59 across Europe, keeping it within reach of casual players and seasoned collectors alike.
