Tim Willits, the chief creative officer of Saber Interactive, recently disclosed that the company has effectively ceased major game development activities on the North American continent. While the corporate headquarters and the publishing division remain located in the United States, the actual creation of games now takes place in a network of fifteen studios scattered across the globe. These development hubs include locations in Serbia, Armenia, Georgia, Spain, Portugal, Sweden, Argentina, and Australia, among others, reflecting a deliberately diversified geographic strategy. The shift away from North American development did not happen overnight.
Prior to its separation from Embracer Group in 2024, Saber Interactive oversaw several well‑known North American studios: Aspyr in Texas, Demiurge Studios in Boston, Tripwire Interactive in Georgia, and Shiver Entertainment in Florida. When Saber became independent, Aspyr, Demiurge, and Tripwire remained under Embracer’s umbrella, while Shiver was acquired by Nintendo in May 2024.
Another former Saber asset, Beamdog in Canada, also stayed with Embracer. The only North American development presence Saber retained after the split is New World Interactive, which operates out of Denver, Colorado, and Calgary, Alberta. New World is best known for the 2018 tactical shooter *Insurgency: Sandstorm*, a title that received a substantial post‑launch update in May 2023.
Even New World experienced a round of layoffs in 2023 as Saber prepared for its departure from Embracer. In an interview with GamesIndustry.biz, Willits explained the company’s philosophy: studios should be "smart about where you make your game." He argued that geographical location should not dictate talent acquisition or creative quality.
"We are not afraid of any territories," he said. "Some publishers shy away from regions they don’t understand, but we see that as an opportunity. We go out, find skilled people, give them the resources they need, and produce great work.
You don’t have to be in California to be an outstanding programmer, artist, or animator." Willits also used the interview to critique the bloated budgets that have become commonplace for large‑scale titles in North America. He cited a recent, unnamed blockbuster as an example of excessive spending, noting that the development cost for *Warhammer 40,000: Space Marine 2* was roughly one‑third of the budget for that unnamed game, yet the former sold 11 million more copies. "You don’t need to spend $150 million to make a billion‑dollar franchise," he asserted. He broke down the economics further, pointing out that many major North American studios burn through more than $2 million each month in salaries alone.
By contrast, Saber’s own *SnowRunner*—a title that has generated hundreds of millions in revenue—cost about $6 million to produce, which equates to roughly three months of development at a typical Californian studio rate. "If a big studio spends five years on a game, that’s 60 months, or $120 million in payroll," Willits explained. Adding marketing, publishing, and other overhead can push total expenditures to $150 million, while the profit per unit sold may only be around $25.
"The math just doesn’t work. You have to sell a massive number of copies to break even, and that’s the problem." Willits’ comments highlight a broader industry trend: the migration of development talent to lower‑cost regions without sacrificing quality. By establishing studios in countries with competitive labor markets and vibrant local game‑development ecosystems, Saber aims to maintain creative excellence while keeping budgets manageable.
This approach also allows the company to tap into diverse cultural perspectives, which can enrich game design and storytelling. The interview also touched on Saber’s openness to forming new partnerships worldwide. Willits emphasized that the company is actively scouting for talented teams, regardless of their location, and is willing to provide the necessary tools, technology, and financial support to bring ambitious projects to life.
He believes that this decentralized model can foster innovation and reduce the risk of costly overruns that have plagued many high‑profile releases in recent years. In summary, Saber Interactive’s current structure reflects a strategic pivot away from traditional North American development hubs toward a globally distributed network of studios.
While the firm retains a U.S. headquarters and publishing arm, its creative engine now spins across multiple continents, leveraging cost‑effective talent pools and a philosophy that values flexibility over geographic convention. Tim Willits’ candid remarks about budgeting, talent acquisition, and the pitfalls of overspending provide insight into why the company is embracing this new paradigm and how it hopes to remain competitive in an industry where financial efficiency is becoming as critical as creative vision.