Saber Interactive has been on a remarkable trajectory over the last few years, but 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 two sit‑downs, the first question on our list was exactly that claim. "That was just Matt being sarcastic, nothing more," Willits laughed.
"The bottom line is we’ve never replaced a human writer with AI. That idea is absurd. 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 isn’t using generative AI to draft story beats, the company is still tinkering with the technology in a controlled environment.
"In our experimental project Rideshare Simulator we have an ‘AI mode’ where we’re testing how AI might assist certain design tasks. The core storyline, side quests and all dialogue are still crafted by people. The AI experiments are more about understanding where the technology could be useful down the line." Willits believes that a breakthrough use‑case for modern AI will eventually emerge, one that will make the industry collectively say, “That’s it – this is how AI fits into game development.” Until such a moment arrives, he likens AI to any new tool that has appeared throughout history: initially met with skepticism, then gradually woven into everyday workflows as its strengths become clear.
He emphasized that Saber does not currently employ generative AI for code, level geometry, texture creation, or other pipeline‑heavy tasks. Nevertheless, he sees personal benefits.
"I’ve always wished I could draw better. If I can picture something in my head and have a tool that helps me get that vision onto the screen, that’s a huge advantage for a designer." Looking ahead, Willits expects the next Gamescom to showcase larger titles that lean more heavily on AI features. "We’re treating it as an experiment – we’ll see how players react to AI‑enhanced gameplay in our Rideshare game and whether it opens up new design possibilities." In 2024 Saber spun out from the Embracer Group, a transition Willits described as "very smooth." The studio now boasts roughly 3,500 staff across fifteen studios located in Serbia, Armenia, Georgia, Spain, Portugal, Sweden, Argentina, Australia and other regions. "Since we opened a studio in Australia, the sun never sets on Saber’s development," he quipped.
Notably, North America no longer appears on the list of development hubs. "We don’t have any core development teams in North America anymore," Willits confirmed, even though the corporate headquarters remain in Florida and a publishing office still operates out of the United States.
This geographic shift mirrors a broader industry trend that Amir Satvat of ASGC described as moving headcount from North America to virtually any other viable location. Saber embraces this global mindset. "We’re not scared of any region. Some publishers shy away from markets they don’t understand, but we see talent everywhere.
You don’t need to be in California to be a brilliant programmer, artist or animator," Willits said. As the studio’s operational overseer, Willits’ role is to ensure each team has the resources it needs, keep projects focused on their core goals, and prevent scope creep. He is a vocal critic of traditional publishing models that concentrate all resources on a single flagship title.
"Many publishers put all their eggs in one basket, creating siloed teams that can’t pivot. At Saber we have many eggs and many baskets, and we can shift teams between projects as priorities change." Saber’s portfolio balances big‑budget tentpoles—upcoming releases such as Stuntman: Hollywood, a John Wick title, Turok: Origins, and Jurassic Park: Survival—with what Willits calls the "bread‑and‑butter" work. This includes remasters of classic franchises like 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. The studio also invests in smaller, lower‑risk bets like Docked, Bus Bound and the experimental Rideshare game. "These titles have clear budgets and revenue forecasts, allowing us to allocate resources flexibly. No one feels locked onto a single project; we can pull talent from around the world to bolster a game when it needs a push." Willits revealed that Saber is exploring a "movie‑style" external development model.
The idea is to partner with a tight‑knit group of elite developers—perhaps 18‑20 highly skilled individuals in the United States—who bring creative vision, while Saber supplies the manpower and production infrastructure. This approach aims to avoid the inefficiency of large, idle teams in high‑cost locations like California, instead focusing a small core on concept work and scaling up as needed. The publishing landscape has increasingly bifurcated into two extremes: ultra‑low‑budget indie support or massive, evergreen blockbuster investments. Few publishers still serve the "lost middle" of mid‑tier, AA‑level games.
Saber positions itself squarely in that middle. "We’re strong advocates of AA," Willits said, though he questioned the label’s definition.
"World War Z sold 32 million copies—does that still count as AA? It’s really about budget and scope." He argues that spreading risk across several medium‑sized titles is wiser than betting everything on a handful of mega‑hits.
"If one person has to hit a home run every year, the odds are against them. With modest releases you can place multiple bets, diversify resources, and apply a slate‑financing model similar to Hollywood.
Private equity or publishers can fund four or five games; a few become hits, a few break even, and the portfolio stays healthy." The key, according to Willits, is tight budget discipline. "You must keep projects in scope and focus on what truly matters," he warned. He illustrated this point with a candid anecdote: "Sometimes I play a game and I can literally see money being wasted—dollars spilling out of the monitor. The development cost for Warhammer 40,000 Space Marine 2 was only a third of a recent major North‑American studio’s title, yet it sold 11 million more copies.
You don’t need a $150 million budget to make a billion‑dollar revenue stream." Saber’s cost structure reinforces his argument. Large North‑American studios can burn $2 million or more per month in salaries alone. By contrast, Saber produced SnowRunner—a game that has generated hundreds of millions—in just $6 million, roughly three months of California‑level payroll. "If a big studio spends five years on a game, that’s $120 million in salaries, plus marketing and publishing costs that can push the total to $150 million, yet the net return per unit might be only $25 after all deductions.
The math just doesn’t add up." Beyond cost efficiency, Willits highlighted Saber’s strategy of leveraging recognizable intellectual property. The studio has cultivated relationships with major IP owners such as Universal, Paramount, Lionsgate and Disney. World War Z, based loosely on the 2006 novel and 2013 Brad Pitt film, became a standout example: "I think more people played the game than saw the movie." When selecting an IP, passion and fan insight are paramount.
"We must love the property first, then understand what the audience expects. Turning Hellraiser into a roguelike would be a disaster," he cautioned, noting that fan research, A/B testing and focus groups are integral to the decision‑making process. Not every partnership works out.
Willits recounted a missed opportunity with a major IP holder who insisted on setting a game in an era that fans rejected. 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 sees such cross‑generational IP as a two‑fold asset: it offers nostalgic appeal for older gamers while providing an entry point for casual players who might not be hardcore gamers.
The upcoming John Wick game emerged from a prior relationship with Lionsgate on Evil Dead: The Game. "They appreciated our respect for their property, so when they needed a partner for John Wick they came to us.
Being a reliable partner opens doors across the industry. Every major studio wants video games because that’s where the audience lives." Saber also handles non‑film IP. Willits praised the partnership with IO Interactive on the Hitman Classic Trilogy Remastered, emphasizing collaborative improvement rather than a pure lift‑and‑shift.
Similar work was done on Tomb Raider remasters, where subtle enhancements were added based on fan expectations. Internally, Saber nurtures original IP as well. MudRunner began as a single developer’s concept and grew into SnowRunner, a commercial success that spawned expansions like Expeditions and RoadCraft, as well as proprietary technology used in the Road Kings series. Willits stressed that the studio’s culture encourages employees to prototype and pursue ideas they’re passionate about, regardless of scale.
"If twelve people have a great concept, we’ll support it. MudRunner proved that small teams can create hits." Overall, Willits believes the industry needs greater discipline and flexibility.
"Developers must be smart, focus on core priorities, and recognize that a great game can be built with a lean team in the right environment." He also advocates for a fluid culture where staff can contribute to multiple projects rather than being siloed. "Don’t say, ‘I’m only on team A and will never touch team B.’ That mindset kills innovation. Our goal is to let talent move where it’s needed, keeping the studio agile and the games fresh."