PM Studios has been a veteran in the world of physical game publishing for roughly two decades. Back when the company was still finding its footing, it introduced the Korean rhythm‑action franchise DJMax to North American audiences, and that early success laid the groundwork for a business model built around pressing a diverse array of titles onto discs and cartridges. "We probably back up a hundred or more games on the physical side each year," explains CEO Michael Yum to GamesIndustry.biz.
He adds that PM Studios often handles the entire physical rollout for multiple partners, noting that a single publisher can generate ten or more titles annually that need tangible distribution. Over the years, the Las Vegas‑based firm has acted as a bridge for developers seeking entry into new markets. "I had a lot of friends in Korea who couldn’t get their games out," Yum says. "So I started bringing Korean and Chinese games over to America and Europe." Among those imports, one title proved to be a game‑changing phenomenon: Black Myth: Wukong.
Yum admits that the decision to publish Black Myth on disc felt like a major gamble. "It was one of our biggest risks," he recalls. "I had no idea it would explode the way it did. When it finally took off, it was a completely unexpected experience – I’ve never seen anything like it before." The success was so overwhelming that the revenue from Black Myth alone was enough to "cover 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," Yum says, his voice tinged with nostalgia.
"My first games were on PlayStation, and I’m a lifelong PlayStation fan, so I’ve always loved buying physical copies. But the truth is, a lot of the newer generation is buying digitally.
My own kids, who grew up with streaming, get confused when you ask them to insert a disc." Despite the looming end of PlayStation discs, PM Studios is determined to keep physical publishing alive in whatever form it can. "We’re exploring new ways to get games out there," Yum explains.
"Eventually we may end up with a code in a box, but we want to highlight the collectibility of the IPs and treat fans right. That means premium packaging, bundles, and other creative solutions that make a physical product feel special." Even though digital sales dominate the global market, Yum points out that there remains a robust demand for physical copies among younger audiences. PM Studios handled the release of the children’s title Bluey’s Quest For The Gold Pen, and roughly 80 % of its sales were on disc. "Big IPs still do very well at retail," he notes, and there is a healthy niche for physical editions of indie hits that have already proven themselves digitally, such as Animal Well.
"I did the mass‑retail version of Lost in Cult and it performed extremely well," he says, adding that collectors often return to purchase a physical edition after an initial digital launch. Physical media also carries an economic advantage: a single disc can be shared among multiple players, unlike a digital licence tied to one account.
"I have twins, so I don’t want to buy two digital copies," Yum says. "I buy one disc, they learn to share it, and they can lend it to friends." Beyond practicality, Yum believes the backlash against the end of discs stems from an emotional sense of loss. "People are upset because you’re taking away a choice," he observes. "Even if most sales are digital, the option to own something tangible matters to many gamers." With the PlayStation disc deadline looming, PM Studios is already pivoting.
"That’s why you see us handling a lot more digital titles now," Yum says. The company still champions physical releases – it is backing an upcoming disc version of AdHoc Studio’s hit Dispatch – but it is also expanding into full‑service publishing for games 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 explains.
Funding, marketing, and production support were the key contributions he pledged, with the broader goal of taking "bigger risks on bigger IPs." PM Studios isn’t the only company scrambling to adapt to a disc‑free future. Singapore‑based GCL Global Holdings, which built its business on physical distribution, is now betting on AA publishing through its 4Divinity label, a move that recently turned heads at Gamescom. The success of Black Myth has convinced Yum that AA titles hold considerable promise.
He notes that the sheer volume of games on digital storefronts makes it hard for smaller projects to get noticed, but AA games often attract more attention because of their higher production values and striking graphics. "I want every game to succeed, especially indies, but when you put a video out there, people gravitate toward the flashier titles," he says. Nevertheless, PM Studios remains a staunch advocate for indie developers.
"We continue to support a lot of indies, helping them finish their games and launch on Switch 2," Yum asserts. The company was among the first to release full games on the new Switch 2 cartridge, hoping to leverage the success of larger titles to fund and promote fresh indie experiments.
Risk mitigation is a key concern with AA projects, which require larger upfront investments. PM Studios therefore looks for safety nets such as established IPs, sequels, reputable developers, or strong wishlist numbers before committing resources.
"Anything we can do to reduce that risk is worth doing," Yum adds. Yum is especially impressed by the surge of AA games emerging from China. He praises Chinese studios for their speed, hunger, and talent, claiming they can produce high‑quality experiences at a pace and cost that outstrip many Western competitors. "If the rest of the world doesn’t keep up, Chinese developers will dominate the market," he warns, citing Tencent and NetEase as already controlling a massive share of the industry.
Even so, PM Studios’ pipeline remains heavily weighted toward Western developers, and the company continues to champion physical media. It recently launched Panax, a community platform designed to unite collectors of physical games and merchandise. "We’ve been building it for years," Yum says. "It went viral after we posted a trophy‑tracking feature, and I’m excited for the new tools and benefits it will bring to publishers and collectors alike." Physical games may be on the decline, but for PM Studios and like‑minded publishers, the fight to keep discs, cartridges, and collector’s boxes alive is far from over.
They will keep drumming the beat for tangible releases until the very last play‑through.