PM Studios has been a staple in the world of physical game publishing for decades. Roughly twenty years ago, the Las Vegas‑based company first made a splash by bringing the Korean rhythm‑action series DJMax to North America, and since that early venture it has built a robust operation that turns a wide variety of titles into discs, cartridges, and other tangible formats.
"We back up around 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 or more releases annually.
Over the years, PM Studios has acted as a bridge for developers seeking to reach new territories. "I had a lot of friends in Korea who couldn’t get their games out," Yum says.
"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 first agreed to manage the physical distribution, the project felt like a high‑risk gamble.
"I didn’t realize how massive it would become. When it blew up, it was an eye‑opener – I’ve never seen anything like that," he recalls.
The success of that single title was so overwhelming that it "covered everything else" in the company’s portfolio. Ironically, just as PM Studios is riding a wave of physical‑media triumph, Sony has announced that it will cease PlayStation disc production in January 2028.
"It’s sad and devastating," says Yum. "My first games were on PlayStation, I’m a PlayStation‑centric gamer, and I still love physical copies.
Yet I see a new generation gravitating toward digital. My own kids, who grew up with streaming, get confused when I hand them a disc." Despite the looming discontinuation, PM Studios is determined to keep physical publishing alive in whatever form it can. "We’re exploring new ways to get games out there.
Eventually it may just be a code in a box, but we want to highlight the collectibility of IPs and fan service. We’ll probably produce premium bundles, special editions, and other unique offerings to keep the tactile experience alive," Yum explains. Even though digital sales now dominate the global market, Yum points out that there remains a vigorous demand for physical copies among younger audiences. The studio’s release of the children’s title Bluey’s Quest For The Gold Pen sold roughly eighty percent of its units as physical products.
Likewise, well‑known intellectual properties continue to perform strongly in brick‑and‑mortar stores, and indie games that have proven digital success often find a second life on shelves. "I did the mass‑retail version of Lost in Cult and it sold extremely well," he says, noting that a limited‑run physical edition of Animal Well also attracted a dedicated collector base. Physical media also carries an economic advantage: a single disc can be shared among multiple players, unlike a digital license tied to one account. "I have twins, so I don’t want to buy two digital copies.
I buy one disc, they share it, and they can lend it to friends," Yum remarks. Beyond practicality, the backlash against disc elimination stems from a sense of loss. "People are upset because you’re taking away a choice," he observes. As the deadline approaches, PM Studios is adapting by expanding its digital catalogue while still championing physical releases.
The company is backing a forthcoming disc version of AdHoc Studio’s hit Dispatch and has taken on full publishing responsibilities for titles such as My Time at Evershine. PM Studios is also collaborating with Telltale on the long‑delayed sequel The Wolf Among Us 2. "I met the CEO, learned about the challenges, and offered help," Yum says. Funding, marketing, and production support are now part of the studio’s contribution, reflecting a broader ambition to "take bigger risks on bigger IPs." Other firms are navigating the same transition.
Singapore‑based GCL Global Holdings, originally built around physical distribution, is pivoting toward AA publishing through its 4Divinity arm, which recently made headlines at Gamescom. Yum believes the success of Black Myth: Wukong demonstrates the untapped potential of AA titles.
He notes that the sheer volume of games in digital storefronts makes discovery difficult, yet AA games often generate more excitement because of their high‑quality graphics and production values. "When you post a video, people gravitate toward the flashier stuff. It naturally draws more attention," he explains. Nonetheless, PM Studios will not abandon indie developers.
The publisher remains a "big champion" for indie projects, helping them finish and launch on platforms like the upcoming Switch 2. "We were among the first to release full‑game cards for Switch 2," Yum adds, hoping that revenue from larger hits can fund experimental indie ventures.
Recognizing the higher upfront costs of AA development, PM Studios mitigates risk by selecting projects with built‑in strengths—whether an established IP, a sequel, a reputable developer, or strong pre‑order wishlists. This cautious approach aims to balance ambition with financial prudence. Yum is especially impressed by the rapid pace of Chinese AA developers.
"They’re incredibly fast, hungry, and talented. They can produce amazing games at lower cost and speed than anyone else," he says. He warns that if the rest of the world fails to keep up, Chinese studios could dominate the market, noting that giants like Tencent and NetEase already control a substantial share of the industry.
Even so, PM Studios’ pipeline remains heavily weighted toward Western developers, and the company continues to invest in physical‑media community building. Its recently launched platform Panax connects collectors of games and merchandise, offering features such as trophy tracking and publisher tools. "We’ve been developing it for years, and it finally went viral.
I can’t wait for the community to experience the new features," Yum enthuses. Physical games may be on the decline, but for PM Studios and like‑minded advocates, the tactile experience, collector culture, and shared ownership will keep the drumbeat alive until the very end.