Tim Willits of Saber Interactive Discusses Generative AI, Shifting Development Away from North America, and Leveraging Familiar IP

Saber Interactive has been on a rapid ascent over the past few years, and the most headline‑grabbing moment recently came when CEO Matthew Karch bluntly dismissed 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, his first question was about that very claim. "That was just Matt being sarcastic," Willits laughed.

"The bottom line is we have 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 added that while the company does not currently use generative AI for core production—no code, environment, or texture pipelines rely on it—Saber is actively experimenting. "In our experimental title Rideshare Simulator we have an AI mode that lets us test the limits of the technology. All the side missions, all the story beats, were still penned by people. We’re just trying to understand where AI can actually add value and where it feels forced." Willits believes that, eventually, a breakthrough use‑case will emerge that makes the industry sit up and take notice.

"When someone discovers a truly clever, modern AI integration, everyone will say, ‘That’s it.’ It will become as obvious as the internet or the smartphone. Until then, it’s like any new tool—people ask, ‘What can we do with this? How does it fit into our workflow?’ and then we gradually find the sweet spots." He also spoke about his personal wish to be able to draw. "I’ve always felt that if I could sketch, I’d be a better designer.

If AI can help translate a vision in my head into a quick visual, that’s a tool I could actually use," he said, acknowledging the potential for AI to augment creative expression even if it doesn’t replace the creator. Looking ahead, Willits predicts that next year’s Gamescom will showcase larger titles that lean into AI features.

"We’re curious to see how our Rideshare experiment is received and whether other studios will follow suit. It’s an exciting sandbox." Saber’s corporate landscape has shifted dramatically as well.

The studio split from Embracer in 2024, a separation Willits described as "very easy." Today Saber employs roughly 3,500 staff across fifteen studios in locations such as Serbia, Armenia, Georgia, Spain, Portugal, Sweden, Argentina and Australia. "Now that we’ve opened a studio in Australia, the sun never really sets on Saber’s development," he quipped.

Notably, North America no longer appears on that map. "We have no real development in North America any more," Willits confirmed, even though the company retains its corporate headquarters in Florida and a publishing team based in the United States. This mirrors a broader industry trend, as Amir Satvat of ASGC observed, where talent and headcount are moving from traditional North American hubs to a more global talent pool.

Willits sees this as an opportunity rather than a risk. "We’re not scared of any territory.

Some publishers hesitate to work in places they don’t understand, but we think, ‘Let’s go, find talented people, give them the tools they need, 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 describes his role as keeping the engine running smoothly. "I make sure teams have what they need, stay focused on the essentials, and keep scope in check." He warned against the old‑fashioned model of a single, siloed team working on one massive project.

"Saber spreads its eggs across many baskets. We can shift resources between games as priorities change." The studio balances high‑profile tentpoles—upcoming titles like Stuntman: Hollywood, John Wick, Turok: Origins, and Jurassic Park: Survival—with what Willits calls "bread‑and‑butter" work.

This includes remastering classic franchises such as the original Hitman trilogy, Tomb Raider, Crysis and Halo. "Those projects are predictable, they generate steady revenue, and they keep the studio financially healthy," he explained. Smaller, experimental bets also have a place.

Projects like Docked, Bus Bound and the Rideshare game are designed with clear budgets and revenue expectations, allowing Saber to allocate talent flexibly. "Our culture lets people hop between projects, so no one feels stuck on just one title. When a game needs extra hands, we can pull them from anywhere in the world." Willits revealed that Saber is exploring a movie‑style external development model. "We’re talking to a handful of elite developers in the US—maybe 18 to 20—who could bring creative vision, while we supply the production muscle.

Instead of a 300‑person team in California burning cash while concept art is drawn, a lean core can focus on the critical pieces and we scale up as needed." In the current publishing climate, many companies are either backing tiny indie projects or pouring resources into massive evergreen franchises, leaving the "lost middle" under‑served. Saber positions itself squarely in that middle ground, championing what Willits calls AA titles.

He questioned the label, noting that a game like World War Z, with 32 million players, blurs the line between AA and AAA. "The definition often comes down to budget, not just player count." Willits argues that spreading risk across multiple mid‑scale games is smarter than banking on a single blockbuster. "If you need a home run every time, you’ll eventually fail. With several modest releases you can afford a few misses while still coming out ahead.

The film industry has done this for decades with slate financing, and we’re seeing a similar approach emerge in games." Keeping each project’s budget in check is crucial. "You have to stay on scope and focus on what truly matters," Willits emphasized.

He illustrated his point with a personal anecdote: "Sometimes I play a game and I can literally see the wasted money—dollars falling off the screen. The development cost for Warhammer 40,000 Space Marine 2 was about a third of a recent big‑budget North American title, yet it sold 11 million more copies. You don’t need a $150 million budget to make a billion‑dollar hit." He compared the economics of large studios versus Saber’s leaner model. "A big North American studio can burn $2 million a month.

SnowRunner, which made hundreds of millions, cost us $6 million to develop—roughly three months of California‑level salaries. If a big studio spends five years on a game, that’s $120 million in salaries alone, not counting marketing. The math rarely works out unless you sell an enormous volume." On intellectual property, Willits said Saber thrives by being agnostic and collaborative.

The studio has worked with major holders such as Universal, Paramount, Lionsgate and Disney. World War Z, loosely based on the 2006 novel and 2013 Brad Pitt film, became a standout hit—"I think more people played the game than saw the movie," he noted.

Choosing the right franchise, according to Willits, starts with genuine love for the IP and a deep understanding of fan expectations. "If we turned Hellraiser into a roguelike, it would be a disaster.

We run extensive A/B and focus testing to gauge what fans truly want." Not every partnership works out. He recounted an instance where a major IP holder wanted a game set in a different era than fans preferred.

Saber pushed back, and the project was shelved. "If the rights holder isn’t listening to the audience, it won’t succeed," he said. Saber’s upcoming collaborations illustrate the power of strong relationships.

The Stuntman: Hollywood project with Universal blends influences from Back to the Future, Fast & Furious and Jurassic World, offering nostalgia for older fans and an entry point for newcomers. The John Wick game materialized because Lionsgate remembered Saber’s respectful handling of the Evil Dead game, showing how being a good partner opens doors. Beyond movie licences, Saber also partners on game IPs.

Willits praised IO Interactive for the Hitman Classic Trilogy Remastered, emphasizing a collaborative approach that improves the original while respecting its legacy. Similar work on Tomb Raider remasters followed the same philosophy.

Internally, Saber nurtures its own creations. MudRunner began as a single developer’s concept and grew into SnowRunner, which spawned expansions like Expeditions and RoadCraft, and even contributed technology to the Road Kings series.

"If a small team has a cool idea, we can back it. Twelve people can produce something amazing if the concept is solid." Willits concludes with a broader industry observation: developers need discipline, focus, and flexibility. "You can build a great game with a handful of people if you’re smart about where you develop it. Create a culture where teams can move between titles, avoid silos, and stay adaptable.

That’s the formula for sustainable success."