PM Studios has been a staple in the world of physical game publishing for decades. Roughly twenty years ago, the Las Vegas‑based company introduced the Korean rhythm‑action franchise DJMax to North America, and since that early venture it has built a robust operation that turns a diverse array of titles into tangible discs and cartridges. "We typically back up a hundred or more games on the physical side each year," explains CEO Michael Yum to GamesIndustry.biz.
He adds that the firm handles the physical side for many other publishers, noting that a single partner can generate ten new physical releases annually. Over the years, PM Studios has acted as a bridge for developers seeking to bring their creations to new territories.
"I had a lot of friends in Korea who couldn’t get their games out," Yum recalls. "So I started importing games from Korea and China into the U.S. and Europe." One of those imported titles turned out to be a game‑changing phenomenon: Black Myth: Wukong. Yum admits that when PM Studios agreed to manage the physical distribution of the title, it felt like "one of our biggest risks." The reality, however, far exceeded his expectations.
"I never imagined it would become that massive. When it blew up, it was an eye‑opening experience – I’ve never seen anything like it.
It basically eclipsed everything else we were doing." Ironically, just as the company is riding a wave of unprecedented physical‑sales success, Sony has announced that it will cease production of PlayStation discs in January 2028, effectively pulling the rug out from under publishers like PM Studios. "It’s sad and devastating," Yum says. "My first games were on PlayStation, and I’m a lifelong PlayStation fan, so I grew up with physical copies. Yet the new generation is gravitating toward digital.
My own kids, who are true digital natives, get confused when I hand them a disc." Despite the looming end of disc manufacturing, PM Studios intends to keep physical publishing alive in whatever form possible. "We’re exploring new ways to get games out there. Eventually it may become a code‑in‑a‑box model, but we want to highlight the collectibility of the IPs and treat fans right.
We’ll likely produce premium bundles, special editions, and other unique formats to keep the physical experience alive," he explains. While digital sales dominate the global market, Yum points out that there remains a strong demand for physical copies among younger audiences. For example, the studio’s children’s title Bluey’s Quest For The Gold Pen sold roughly 80 % of its units as physical copies.
"Big IPs still perform very well at retail," he adds, and even indie games that have proven themselves digitally can thrive in a physical format. He cites the success of Animal Well’s limited‑run physical edition and the mass‑retail version of Lost in Cult, noting that collectors and fans often return to purchase a tangible copy after enjoying the digital version. There is also a practical economic benefit to owning a disc that can be shared. "I have twins, so buying two digital copies didn’t make sense.
I bought one disc, they learned to share it, and they can lend it to friends," Yum says, underscoring how a single physical copy can serve multiple players. Beyond practicality, Yum believes the emotional reaction to the end of discs stems from a sense of loss. "People are upset because you’re taking away a choice," he observes. Even if most sales are digital, the ability to hold a game, display it on a shelf, and own a piece of gaming history carries sentimental weight.
With the PlayStation disc deadline approaching, PM Studios is adapting its strategy. "That’s why you see us handling more digital titles now," Yum states.
Nevertheless, the company remains committed to physical releases, backing projects such as the upcoming disc version of AdHoc Studio’s hit Dispatch and taking on full publishing responsibilities for titles like My Time at Evershine. The studio is also collaborating with Telltale on the long‑awaited sequel The Wolf Among Us 2. "I met the CEO, learned about the challenges they faced, and offered what we could do to help," Yum recounts.
Funding, marketing, and production support were offered to ensure the sequel’s timely completion. He says the ultimate goal is to "take bigger risks on bigger IPs." PM Studios isn’t alone in navigating the shift away from physical media.
Singapore‑based GCL Global Holdings, originally built around physical distribution, is now betting on AA publishing through its subsidiary 4Divinity, a move highlighted at Gamescom. The success of Black Myth: Wukong has convinced Yum that AA titles hold significant promise.
He notes that the sheer volume of games on digital storefronts makes it hard for any single title to stand out, but AA games often attract more attention thanks to higher production values and striking graphics. "I want every game to succeed, especially indies, but flashy AA titles naturally draw more eyes," he says.
Nonetheless, PM Studios will not abandon indie developers. The publisher continues to champion indie projects, helping them finish and launch on platforms like Switch 2.
"We were among the first to release full games on Switch 2 cards," Yum says, hoping that revenue from larger hits can fund experimental indie ventures. Recognizing the higher upfront costs associated with AA games, PM Studios mitigates risk by selecting projects with recognizable IPs, sequels, reputable developers, or strong wishlist data. "Anything we can do to reduce that risk is a priority," he explains.
Yum is particularly impressed by the rapid development cycles emerging from Chinese studios. "Chinese developers are incredibly fast, hungry, and talented.
They can produce amazing games at a pace and price that outpaces the rest of the world," he observes. He warns that if Western developers don’t keep up, Chinese giants like Tencent and NetEase could dominate the industry. Even so, most of PM Studios’ upcoming slate still originates from Western creators, and the company remains a staunch advocate for physical media. It recently launched the Panax community platform, designed to unite collectors of physical games and merchandise.
"We’ve been building it for years, and it finally went viral after we posted a trophy‑tracking feature. I’m excited for the new tools and benefits it will give publishers," Yum says. In summary, while the era of PlayStation discs may be drawing to a close, there are still passionate advocates like PM Studios who will continue to champion the tactile, collectible side of gaming for as long as possible.