Saber Interactive has made significant strides in recent years, yet the most headline‑grabbing moment 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's 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 Space Marine, Hellraiser, Stuntman or any of our other titles. "We are, however, experimenting with it because we’re still figuring out where it can actually add value, what players will appreciate, and which parts of the pipeline it might serve. In our Rideshare Simulator we have an AI‑mode experiment, but the story, the side quests and everything else were all crafted by human writers." Willits believes that a breakthrough use case for true AI integration will eventually emerge, and when it does the industry will collectively say, “That’s the moment.” Until then, he likens AI to any new technology that initially sparks curiosity and skepticism before finding a niche in everyday workflows.
He clarified that Saber does not employ generative AI for core production 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 visualize it, AI could be a useful sketchpad for me," he said.
Looking ahead, Willits expects larger, more AI‑focused projects to appear at the next Gamescom. He is eager to see how the AI mode in Rideshare is received and hopes the experiment will yield useful insights for future titles. Saber’s split from Embracer in 2024 was, by Willits’ account, "very easy." The company remains sizable, with roughly 3,500 staff across 15 studios in locations 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 development," he quipped.
Notably, North America no longer hosts any major development teams, although the corporate headquarters stay in Florida and a publishing office remains stateside. "We’ve essentially moved our development footprint off the continent," Willits explained.
This mirrors a broader industry trend that Amir Satvat of ASGC described as a shift of headcount from North America to the rest of the world. Willits emphasized that geography is no longer a barrier to talent. "Some publishers fear unfamiliar regions, but we say, ‘Bring us the skilled people, give them the tools, and let’s make something great.’ You don’t need to be in California to be an outstanding programmer, artist or animator." As the studio’s operational overseer, Willits’ role is to ensure teams have the resources they need, keep projects focused on core priorities, and prevent scope from ballooning. He criticized the old‑school publisher model that puts all its eggs in a single basket, noting that Saber spreads its eggs across many baskets and can reallocate teams as market conditions dictate.
Saber balances blockbuster releases—upcoming titles like Stuntman: Hollywood, John Wick, Turok: Origins and Jurassic Park: Survival—with what Willits calls "bread‑and‑butter" work, such as the Hitman Classic Trilogy remaster, which follows similar remaster projects for Tomb Raider, Crysis and Halo. "Those are predictable, steady revenue streams," he said.
Smaller, lower‑risk bets also play a part in the portfolio. Projects like Docked, Bus Bound and the experimental Rideshare game are financially predictable; budgets are known, revenue forecasts are realistic, and resources can be shifted quickly when needed. This flexibility prevents any single title from monopolizing the company’s attention. Willits revealed that Saber is exploring a Hollywood‑style external development model.
The studio is in talks with a tight‑knit group of 18‑20 elite developers in the United States who could provide creative vision while Saber supplies the manpower. "Instead of a 300‑person team in California burning cash on concept art, a small, focused crew can produce the core ideas, and we bring in additional talent as required," he explained. The publishing landscape has increasingly polarized between tiny indie budgets and massive evergreen franchises, leaving a "lost middle" that few support. Saber positions itself squarely in that middle, championing the AA tier.
Willits questioned the label, noting that a game like World War Z, with 32 million players, blurs the line between AA and AAA; he suggests the distinction is primarily budget‑driven. He argues that diversifying across several mid‑scale games is healthier than banking on a single blockbuster.
"If you need a home run every year, you’ll eventually fail. With modest releases you can place more bets, spread risk, and apply a slate‑financing approach similar to the film industry—fund four or five games, expect three hits, one miss, and everyone walks away satisfied." Keeping individual project budgets in check is essential. "You have to stay within scope and focus on what truly matters," Willits warned.
He illustrated his point with a personal anecdote: "Sometimes I play a game and can literally see money being wasted—dollars falling out of the monitor. 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 franchise." He compared cost structures, noting that large North American studios often burn over $2 million per month. By contrast, SnowRunner—one of Saber’s biggest hits—cost about $6 million total, roughly three months of a California studio’s payroll. A five‑year development cycle for a big studio could therefore consume $120 million in salaries alone, not counting marketing, which can push total spend past $150 million while the net return per unit may be only $25 after deductions.
On the IP front, Saber has cultivated strong relationships with major owners, working with Universal, Paramount, Lionsgate and Disney. Willits highlighted World War Z as a success story, saying more people played the game than saw the film.
When selecting franchises, the team first ensures they love the property and then determines what fans actually want, using A/B testing and focus groups. He cited a failed Hellraiser roguelike concept as an example of listening to fan expectations. Saber’s collaboration with Universal on Stuntman: Hollywood blends influences from Back to the Future, Fast & Furious and Jurassic World, offering nostalgia for older gamers while providing an entry point for newcomers who may not be hardcore players.
The upcoming John Wick game emerged because Lionsgate trusted Saber after a successful partnership on Evil Dead: The Game; Willits stressed that being a reliable partner opens doors across the entertainment industry. Beyond movie licenses, Saber works closely with IO Interactive on the Hitman Classic Trilogy remaster, aiming to improve rather than merely replicate the originals. Similar collaborative efforts have occurred on Tomb Raider remasters, where subtle enhancements were guided by fan feedback. Internally, Saber nurtures its own IPs.
MudRunner began as a single developer’s concept and grew into SnowRunner, spawning expansions like Expeditions and RoadCraft, as well as proprietary Road Kings technology. Willits said the studio encourages employees to prototype ideas, noting that a small, high‑quality team can deliver a compelling experience—"we could do something with twelve people if it’s cool." He concluded with a broader industry observation: developers must be disciplined, focus on essential tasks, and build cultures that allow talent to move fluidly between projects.
"Don’t silo yourself. If you’re only attached to one team, you’ll miss out on the synergy that comes from cross‑project collaboration.
That’s the formula for sustainable success in game development."