Saber Interactive has accomplished a great deal over the last few years, yet the most headline‑grabbing story recently came from CEO Matthew Karch’s blunt reaction to rumors that a writer had been swapped out for ChatGPT. When we met Tim Willits, the studio’s chief creative officer, at Gamescom for the second of our two interviews, the first question on our agenda was exactly that claim. "That was just Matt being sarcastic," Willits laughed.
"The bottom line is we’ve never replaced a person with AI – that would be insane. We don’t use generative AI on titles like Space Marine, Hellraiser, Stuntman or any of our other projects. "We are, however, experimenting with it because we’re still figuring out where the technology can actually add value, what players will appreciate, and which workflows might benefit. In our experimental title Rideshare Simulator we’ve added an ‘AI mode’ as a test.
All the story missions, side quests and other narrative elements were still written by human writers." Willits believes that, eventually, a developer will discover a truly clever use case for modern AI that will make the rest of the industry sit up and take notice. Until that breakthrough arrives, he likens AI to any other emerging technology: people initially ask, “What can we do with this?
How does it work?” and only later does it become woven into everyday production. He clarified that Saber does not rely on generative AI for core pipeline tasks such as coding, level design, or texture creation. Still, he sees personal benefits. "I’ve always wished I could draw, because I think it would make me a better designer.
If I have a vision in my head and need a quick way to get it onto the screen, AI‑assisted tools could be a real help for me." Looking ahead, Willits expects the conversation around AI to grow louder at next year’s Gamescom, perhaps even featuring a larger title that centers the technology. He’s eager to see how players respond to the AI‑driven elements in Rideshare Simulator and treats the current work as a valuable experiment. In 2024 Saber split from its former parent Embracer in what Willits described as a "very easy" process. The company remains sizable, employing roughly 3,500 staff across 15 studios located in places such as Serbia, Armenia, Georgia, Spain, Portugal, Sweden, Argentina and Australia.
"Now that we have a studio in Australia, the sun never sets on Saber’s development," he quipped. Notably absent from that list is North America. "We no longer have any real development in North America," Willits confirmed, even though the corporate headquarters stay in Florida and a publishing team is still based in the United States.
This reflects a broader industry shift that Amir Satvat of ASGC described as moving headcount from North America to virtually anywhere else. Saber embraces that global mindset. "We’re not scared of any region. Some publishers shy away from markets they don’t understand, but we say, ‘Let’s go, find talented people, give them what they need, and make something great.’ You don’t have to be in California to be an outstanding programmer, artist or animator." Willits sees his role as keeping the operation humming.
"I make sure teams have what they need, stay focused on the essentials, and keep scope in check," he said. He also warned against the old‑fashioned model of publishers putting all their eggs in a single basket, with siloed teams working on one project at a time. Saber, by contrast, spreads its eggs across many baskets and can shuffle resources between projects as priorities shift. The studio balances blockbuster titles—upcoming releases like Stuntman: Hollywood, John Wick, Turok: Origins and Jurassic Park: Survival—with what Willits calls its "bread‑and‑butter" work.
This includes remastering the original Hitman trilogy, a follow‑up to previous Tomb Raider, Crysis and Halo remasters, and other predictable, revenue‑generating projects. "That steady work funds the riskier bets," he explained. Those riskier bets include smaller experiments such as Docked, Bus Bound and the Rideshare game.
"We know the budget, we can forecast revenue, and we have a culture that lets people dip their toes into many different games," Willits said. This flexibility means no one feels locked onto a single title; resources can be reallocated globally whenever a project needs a push. Saber is also testing a Hollywood‑style external development model. "We’re talking to groups of 18‑20 top‑tier developers in the US who could bring creativity and vision, while we supply the manpower," Willits described.
Instead of maintaining a large, costly team in California waiting for concept art, a lean core can focus on the most important creative work, with additional staff added as needed. The publishing landscape has split into two extremes: tiny indie budgets or massive evergreen franchises, leaving a "lost middle" that few serve. Saber positions itself squarely in that middle, championing the AA segment.
Willits admitted the term is fuzzy. "World War Z sold 32 million copies; is that AA or AAA? It often comes down to budget rather than sales." He argues that a diversified slate is healthier than betting everything on a single blockbuster. "If one person has to hit a home run every game, they’ll eventually fail.
With modest releases you can place several bets, spread resources, and use a slate‑financing approach similar to movies: a few hits, a few misses, and overall profitability." Keeping individual game budgets under control is crucial. "You have to stay in scope and focus on what truly matters," Willits emphasized. He illustrated the point with a personal anecdote: "Sometimes I play a game and I can literally see money being wasted.
The development cost for Warhammer 40,000 Space Marine 2 was only a third of a recent big‑budget North American title, yet it sold 11 million more copies. You don’t need $150 million to make a billion‑dollar hit." He compared the cost structures of large North American studios—often burning $2 million or more per month—to Saber’s more efficient model. SnowRunner, which generated hundreds of millions, cost Saber roughly $6 million to develop, equivalent to three months of a California studio’s payroll.
"If a big studio spends five years on a game, that’s $120 million in salaries alone, not counting marketing. The math just doesn’t add up unless you sell an enormous volume." On IP strategy, Saber is eager to work with recognizable brands. "We’re agnostic about who we partner with; we’ve collaborated with Universal, Paramount, Lionsgate and Disney," Willits said.
World War Z, based loosely on the novel and Brad Pitt film, became a major success—perhaps more players experienced the game than the movie. Choosing a franchise starts with genuine love for the property and a deep understanding of fan expectations.
"If we turned Hellraiser into a roguelike, it would be disastrous," he warned, noting that fan research, A/B testing and focus groups are integral to the decision‑making process. Not every pitch lands. Willits recounted an instance where a large IP holder wanted a game set in a different era than fans preferred; Saber pushed back, the collaboration fell through, and the project was shelved. At Summer Game Fest Saber announced a partnership with Universal on Stuntman: Hollywood, a title that draws inspiration from Back to the Future, Fast & Furious and Jurassic World.
The nostalgia of Back to the Future appeals to older fans while also providing an entry point for casual players who might not be hardcore gamers. The upcoming John Wick game materialized because Saber had previously earned Lionsgate’s trust on Evil Dead: The Game. "They saw we respected their property, so when they needed a team for John Wick, they came to us. Being a good partner opens doors.
Every major studio wants video games because that’s where the audience lives," Willits explained. Saber also handles non‑movie IPs. The studio works closely with IO Interactive on the Hitman Classic Trilogy Remastered, blending IO’s ideas with Saber’s improvements while respecting the franchise’s legacy. Similar collaboration occurred on Tomb Raider remasters, where subtle enhancements were made based on fan feedback.
Beyond licensed work, Saber nurtures its own IPs. MudRunner began as a single developer’s concept and grew into SnowRunner, which spawned expansions like Expeditions, RoadCraft and even technology used in Road Kings. Willits highlighted that the company encourages employees to prototype and pursue passion projects, whether they involve a dozen people or a larger team. The overarching theme is flexibility and a culture that lets creators chase the ideas they find exciting.
"Making video games is the best job in the world; if someone has a cool concept, we want to hear it," Willits said. Finally, Willits called for greater discipline across the industry. Developers must be smart about priorities, keep teams lean, and avoid siloed thinking.
"You can build a great game with a small, focused crew if you stay disciplined about scope and location. Build a culture where people can contribute to multiple titles, not just one isolated project. That’s the formula for sustainable success."