Saber Interactive has experienced rapid growth and a series of high‑profile projects over the last few years, but the most eye‑catching headline recently came from CEO Matthew Karch’s candid reply 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 a two‑part interview, the first question we asked was about that very claim.
"That was just Matt being sarcastic," Willis laughed. "The bottom line is we have never replaced a human writer with an 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 rely on generative AI for core production tasks, the team is experimenting with the technology in a controlled environment.
"In our experimental title Rideshare Simulator we have an ‘AI mode’ that lets us test how far the tech can go. All of the main story beats, side missions and dialogue in that mode were still penned by people. The AI is a sandbox, not a replacement." Willits believes that, eventually, a breakthrough use‑case will emerge that will convince the whole industry of AI’s true value. "When someone finally demonstrates a clever, elegant integration of modern AI that solves a real problem, everyone will say, ‘That’s it!’ and it will become a standard tool, just like motion capture or procedural generation did when they first appeared.
Until then, it’s the same pattern we’ve seen with every new technology: initial skepticism followed by gradual adoption." He clarified that Saber’s production pipelines for code, level design, textures and other assets remain human‑driven. Still, he sees personal benefits in the creative side of AI. "I’ve always wished I could draw better. If I have a vision in my head and can’t translate it onto paper, a generative image tool could bridge that gap.
It’s a way to get ideas out faster, especially for people like me who think visually." Looking ahead, Willits expects the next Gamescom to showcase more substantial titles that lean into AI experimentation. "We’ll probably have a few bigger projects that make AI a core feature, and I’m eager to see how our players respond.
Rideshare is just the first step, but it’s an exciting experiment." In early 2024 Saber Interactive separated from its parent company Embracer in what Willits described as a "very smooth" transition. The studio now employs roughly 3,500 staff across 15 locations, including studios in Serbia, Armenia, Georgia, Spain, Portugal, Sweden, Argentina and Australia. "Since we opened a studio in Australia, the sun never really sets on Saber’s development," he joked, emphasizing the truly global nature of the company. Notably, North America no longer hosts any major development hubs.
"We don’t have any real development teams in North America any more," Willits confirmed, even though the corporate headquarters remain in Florida and a publishing office still operates out of the United States. This shift mirrors a broader industry trend that Amir Satvat of ASGC described as moving headcount from North America to virtually any other region that can provide talent. Willits sees this geographic diversification as an advantage rather than a risk.
"We’re not scared of any territory. Some publishers hesitate to work in markets they don’t understand, but we think, ‘Let’s go, find the talent, give them the tools, and make something great.’ You don’t need to be in California to be a brilliant programmer, artist or animator." As the chief creative officer, Willits’ role is to keep the massive, distributed operation humming. "My job is to make sure each team has what they need, keep the focus on the most important goals, and prevent scope from spiralling out of control," he said.
He also warned against the old‑fashioned model of siloed teams that work on a single project for years on end. Saber’s strategy, according to Willits, is to spread risk across many “eggs” and “baskets.” The studio balances large‑scale tentpole releases—such as the upcoming Stuntman: Hollywood, a John Wick game, Turok: Origins and Jurassic Park: Survival—with more predictable, revenue‑generating work like the remaster of the original Hitman trilogy, which follows similar remaster projects for Tomb Raider, Crysis and Halo. "Those are steady, reliable projects that keep cash flowing," he explained.
At the same time, Saber invests in smaller, experimental titles like Docked, Bus Bound and the Rideshare Simulator. "These are projects where we can accurately forecast costs and revenues, and we have the flexibility to reallocate resources from around the world when a particular game needs a boost." Willits also highlighted a new development model that mirrors Hollywood’s “external production” approach. The studio is in talks with a tight‑knit group of 18‑20 highly skilled developers in the United States.
The idea is to let that boutique team handle the creative vision while Saber supplies the manpower and infrastructure, avoiding the inefficiency of large, idle teams waiting for concept art or other early‑stage assets. The broader publishing landscape, Willits observed, has split into two extremes: tiny indie budgets on one side and massive, evergreen franchises on the other, leaving a “lost middle” that few publishers serve. Saber positions itself squarely in that middle, championing what he calls “AA” games.
He admitted the definition is fuzzy. "World War Z sold 32 million copies; is that AA or AAA? It often comes down to budget rather than sales." He argued that a diversified portfolio of AA titles is healthier than banking on a handful of blockbuster hits. "If you need a home run every single game, you’ll eventually burn out.
With several modest‑budget games, you can spread risk, fund four or five projects, and expect a mix of hits and misses—just like slate financing in the film industry." Keeping budgets in check is essential, Willits said. "You have to stay within scope and focus on what truly matters." He illustrated his point with a personal anecdote: "Sometimes I sit down and play a game—won’t name it—and I can literally see money pouring out of the screen. The development cost for Warhammer 40,000 Space Marine 2 was about a third of a recent big‑budget title from a major North American studio, yet it sold 11 million more copies.
You don’t need a $150 million budget to make a billion‑dollar franchise." Willits compared the cost structures of large U.S. studios with Saber’s leaner model. "A big North American studio can burn $2 million a month. SnowRunner, which generated hundreds of millions, cost us roughly $6 million to develop—essentially three months of a California‑style payroll.
If a big studio spends five years on a game, that’s $120 million in salaries alone, not counting marketing, which can push total spend past $150 million. Yet the net return per title might only be $25 million after all deductions. The math just doesn’t add up for many developers." A cornerstone of Saber’s approach is leveraging well‑known intellectual property.
"We’re very agnostic when it comes to IP partners—we’ve worked with Universal, Paramount, Lionsgate and Disney," Willits said. The World War Z game, loosely based on the 2006 novel and the 2013 Brad Pitt film, became a standout success; "I think more people played the game than saw the movie." When selecting a franchise, the team first ensures they love the property and then studies what fans actually want. "If we turned Hellraiser into a roguelike, it would be a disaster. Understanding fan expectations through A/B testing and focus groups is a huge part of the job." Not every IP pitch works out.
Willits recounted a missed opportunity where a large rights holder insisted on setting a game in a time period that didn’t align with fan desires. Saber pushed back, and the project was shelved. At Summer Game Fest Saber announced a collaboration with Universal on Stuntman: Hollywood, a title that draws inspiration from Back to the Future, Fast & Furious and Jurassic World.
Willits explained that recognizable IP provides nostalgia for older gamers while also attracting newcomers who may not be hardcore players. The upcoming John Wick game emerged from an earlier partnership with Lionsgate on Evil Dead: The Game.
"They felt we respected their property, so when they needed a studio for John Wick, they came to us. Being a good partner opens doors; every major studio wants video‑game adaptations because that’s where the audience lives." Saber also handles classic game IP. Willits praised IO Interactive for collaborating on the Hitman Classic Trilogy Remastered, noting that both parties contribute ideas to improve the original experience without alienating fans. Similar work was done on Tomb Raider remasters, where subtle enhancements were added based on what works for the game and what fans request.
Beyond licensed titles, Saber nurtures its own properties. MudRunner began as a solo developer’s concept and grew into SnowRunner, which then spun off into Expeditions, RoadCraft and the Road Kings technology suite. "Our culture encourages employees to prototype their own ideas.
If a small team of twelve can produce something cool, we’ll back it." Willits summed up the studio’s philosophy: flexibility, creative freedom and disciplined project management. "We’re making video games—that’s the best job in the world.
If someone has a cool idea, we want to hear it. At the same time, developers need to be smart, stay focused on the essentials, and build a culture where people can contribute across multiple projects instead of being siloed.
That’s how you stay competitive in today’s industry."