Saber Interactive has made a remarkable series of achievements over the past few years, yet the most headline‑grabbing story recently stemmed from CEO Matthew Karch’s blunt reaction to rumors that a writer had been swapped out for ChatGPT. When we met Tim Willits, Saber’s chief creative officer, at Gamescom for the second of our two sit‑downs, the first question we asked him was about that very claim. "That was just Matt being sarcastic," Willits laughed. "The bottom line is we’ve never replaced a human writer with AI—that would be insane.
None of the narrative work on Space Marine, Hellraiser, Stuntman or any of our other titles has been generated by a machine." He went on to explain that while Saber does not currently employ generative AI for core production tasks such as code, level design, or texture creation, the studio is actively experimenting with the technology in a limited capacity. "In our experimental project Rideshare Simulator we have an ‘AI mode’ that lets us test how far the tech can go. All the main quests, side missions, and dialogue were still crafted by people. The AI experiments are more about understanding the future potential than about replacing staff today." Willits believes that the industry is on the cusp of discovering a breakthrough use case for modern AI—something so obvious and powerful that everyone will instantly recognize its value.
"When that moment arrives, it will be like the introduction of any other transformative tool in gaming history. At first people ask, ‘What can we actually do with this?’ and then, over time, it becomes woven into everyday workflows." He also shared a personal wish: the ability to draw.
"I’ve always felt that if I could sketch, I’d be a better designer. If AI can help me turn a mental image into a visual mock‑up, that’s a tool I’d gladly use." Looking ahead, Willits expects to see larger, more AI‑centric titles at the next Gamescom. "We’re treating it as a big experiment—seeing how it feels in a live game, how players respond, and whether it can speed up certain development pipelines without compromising quality." Saber’s corporate landscape shifted dramatically in 2024 when the studio split from Embracer. Willits described the separation as "very easy" and noted that Saber now operates as a sizable independent studio with roughly 3,500 employees spread across 15 locations, including Serbia, Armenia, Georgia, Spain, Portugal, Sweden, Argentina, and Australia.
"Since we opened a studio in Australia, the sun never really sets on Saber development," he said with a grin. Curiously, North America no longer appears on that list of development hubs. "We don’t have any major development teams in North America any longer," Will Willits confirmed, even though Saber retains its corporate headquarters in Florida and a publishing office in the United States.
This mirrors a broader industry trend that Amir Satvat of ASGC described as a migration of headcount from North America to virtually any other region. Willits emphasized that Saber is unafraid of operating in unfamiliar territories. "Some publishers hesitate to work in markets they don’t understand, but we see it as an opportunity.
Talent exists everywhere—California isn’t a monopoly on brilliant programmers, artists, or animators." As the studio’s operational linchpin, Willits said his primary responsibility is to ensure that each team has the resources it needs, stays focused on the most critical objectives, and avoids scope creep. He warned against the old‑fashioned approach of “putting all eggs in one basket” that many modern publishers still practice. "Saber spreads its eggs across many baskets and can reallocate teams between projects whenever the situation demands." Saber’s portfolio balances high‑profile tentpole releases—upcoming titles such as Stuntman: Hollywood, John Wick, Turok: Origins, and Jurassic Park: Survival—with what Willits calls the studio’s "bread‑and‑butter" work.
This includes the remastered Hitman Classic Trilogy, which follows a string of successful remasters for Tomb Raider, Crysis, and Halo. "Those projects are predictable, they generate steady revenue, and they keep the studio financially healthy," he explained.
In addition to the big titles, Saber invests in smaller, more experimental bets like Docked, Bus Bound, and the aforementioned Rideshare Simulator. "These projects have clearly defined budgets and revenue expectations, allowing us to plan precisely.
At the same time, our culture encourages anyone with a great idea to pitch it, regardless of the project's size." Willits also disclosed that Saber is exploring a Hollywood‑style external development model. The studio is in talks with a small, elite group of 18‑20 developers in the United States who could provide creative vision while Saber supplies the production muscle. "Instead of maintaining a massive team in California that sits idle while concept art is being finalized, we can partner with a lean, highly skilled team that focuses on the critical creative work, then scale up with our global talent as needed." The publishing environment has increasingly polarized between ultra‑low‑budget indie support and massive evergreen franchises, leaving a "lost middle" that many publishers ignore. Saber positions itself squarely in that middle ground, championing the AA (mid‑tier) space.
Willits admitted the definition of AA is fuzzy. "World War Z sold 32 million copies—does that still count as AA?
Perhaps the label is more about budget than sales." He argued that a diversified slate reduces risk. "If you rely on a single blockbuster every year, a miss can cripple you.
By spreading resources across several mid‑scale games, you can afford a few misses while still delivering hits. The movie industry has used slate financing for decades, and we’re seeing a similar approach emerge in games." Keeping individual project budgets under control is essential, according to Willits. "You must stay within scope and focus on what truly matters." He illustrated his point with a personal anecdote: "Sometimes I play a game—I'll keep the title private—and I can literally see money being wasted.
The development cost for Warhammer 40,000 Space Marine 2 was about a third of a recent major North American studio release, yet it sold 11 million more copies. You don’t need a $150 million budget to ship a billion‑dollar‑type title." Willits compared development economics between Saber and large U.S. studios. "Big North American studios burn over $2 million a month.
SnowRunner, which generated hundreds of millions, cost us roughly $6 million—equivalent to three months of a California studio’s payroll. If a big studio takes five years, that’s $120 million in salaries alone, plus marketing, easily reaching $150 million, while the net return per game may be only $25 million after all deductions.
The math just doesn’t work for everyone." On intellectual property, Saber has become adept at collaborating with well‑known brands. Willits said the studio works with a range of owners—from Universal and Paramount to Lionsgate and Disney.
He highlighted the success of World War Z, noting that more people played the game than saw the film. When evaluating potential IP partnerships, the studio first asks whether it loves the property and then conducts extensive fan research to ensure the adaptation aligns with audience expectations. "Turning Hellraiser into a roguelike would be a disaster," he warned, emphasizing the importance of fan‑centric design and rigorous A/B testing.
Not every pitch pans out. Willits recounted a missed opportunity with a major IP holder that insisted on setting a game in a time period fans didn’t want. Saber pushed back, and the project was shelved. At Summer Game Fest, Saber announced its collaboration with Universal on Stuntman: Hollywood, a title that blends influences from Back to the Future, Fast & Furious, and Jurassic World.
Willits explained that recognizable IP offers dual benefits: nostalgia for seasoned gamers and an accessible entry point for casual players who might not be hardcore gamers. The upcoming John Wick game originated from a prior partnership with Lionsgate on Evil Dead: The Game. "They saw that we respected their property, so when they needed a team for John Wick, they came to us. Being a reliable partner opens doors across the industry.
Every major studio wants video‑game extensions of their franchises because that’s where the audience lives," he said. Saber also handles legacy game IPs.
Willits praised IO Interactive for collaborating on the Hitman Classic Trilogy Remastered, noting that both studios bring ideas to the table to improve the original experience without alienating fans. He added that Saber contributed to Tomb Raider remasters, making subtle enhancements based on community feedback.
Beyond licensed work, Saber nurtures its own creations. MudRunner began as a single developer’s concept and grew into SnowRunner, which then spun off into Expansions, RoadCraft, and even the proprietary Road Kings technology.
Willits stressed that the studio’s culture encourages employees to prototype and iterate on personal projects, saying, "If someone has a cool idea, we want to hear it. This is the best job in the world, and creativity should be celebrated." Finally, Willits called for greater discipline across the industry. "Developers need to be smart about scope, focus on core priorities, and understand that a great game can be built with a small, talented team. Avoid siloed thinking—people should be able to contribute to multiple titles.
That flexibility is key to long‑term success."