Saber Interactive has made significant strides in recent years, yet the most headline‑grabbing moment came when CEO Matthew Karch bluntly dismissed claims that a writer had been swapped out for ChatGPT. When we caught up with Saber’s chief creative officer, Tim Willits, at Gamescom for the second of our two interviews, that rumor was the first thing we asked him about. "That was just Matt being sarcastic," Willis laughed. "The bottom line is we’ve never replaced a human with AI.
That would be insane. None of the scripts for Space Marine, Hellraiser, Stuntman or any of our other titles were generated by a machine." He added that while Saber does not currently employ generative AI for core production—no code, level design, or texture creation is AI‑driven—the studio is experimenting with the technology in limited contexts to gauge its future usefulness.
"In our experimental project Rideshare Simulator we have an ‘AI mode’ that lets us test how AI can assist, but all the dialogue, side‑quests and narrative beats are still written by people." Willits believes a breakthrough use‑case will eventually emerge that makes the industry say, “That’s it—this is how AI belongs in games.” Until then, he likens AI to any new tool in history: initially confusing, later integrated into everyday workflows. He also shared a personal wish: "I’ve always wanted to be able to draw. If I could instantly turn a mental image into a sketch, that would be a huge boost for a designer like me." For him, AI could become a bridge between concept and visual, allowing creators to externalise ideas faster. Looking ahead, Willits expects larger titles that lean on AI to appear at the next Gamescom, and he’s eager to see player reaction to the Rideshare experiment.
"It’s a great sandbox for us to learn what works and what doesn’t." In 2024 Saber split from Embracer in what Willits described as "a very smooth transition." The company remains sizable, with roughly 3,500 staff across 15 studios located in Serbia, Armenia, Georgia, Spain, Portugal, Sweden, Argentina, Australia and other regions. "Now that we’ve opened a studio in Australia, the sun never sets on Saber’s development pipeline," he quipped.
Notably, North America no longer hosts any major development teams, though the corporate headquarters stay in Florida and a publishing office remains stateside. "We’ve essentially moved all our production elsewhere," Willits said, echoing a broader industry shift noted by ASGC’s Amir Satvat: talent and headcount are flowing from the U.S. to a global talent pool. Willits stressed that Saber is unafraid of any geography.
"Some publishers shy away from markets they don’t understand, but we say, ‘Let’s find talented people wherever they are and give them the tools they need.’ You don’t need to be in California to be a world‑class programmer, artist or animator." His role, according to Willits, is to keep the gears turning: ensuring teams have what they need, keeping scope realistic, and preventing projects from ballooning beyond control. He criticized the old‑fashioned model of publishers putting all their resources into a single, siloed team, and highlighted Saber’s flexible approach of spreading “eggs across many baskets” and moving staff between projects as priorities shift. Saber’s portfolio balances blockbuster‑type releases—upcoming titles such as Stuntman: Hollywood, John Wick, Turok: Origins and Jurassic Park: Survival—with what Willits calls the “bread‑and‑butter” work: remasters of the original Hitman trilogy, Tomb Raider, Crysis and Halo.
"Those are predictable, steady revenue streams that keep the studio healthy," he explained. The studio also bets on smaller, more experimental projects like Docked, Bus Bound and the Rideshare game. These titles have clearly defined budgets and revenue expectations, allowing Saber to allocate resources dynamically. "No one feels locked onto a single game; we can pull talent from anywhere when a project needs a push," he said.
Willits revealed that Saber is exploring a Hollywood‑style external development model. The company is in talks with a tight‑knit group of 18‑20 elite developers in the United States, offering them creative freedom while Saber supplies the heavy‑lifting manpower. This hybrid approach, he argues, avoids the costly overhead of large, idle teams waiting for concept art or other assets.
The publishing landscape, according to Willits, has polarized into two extremes: tiny indie budgets or massive evergreen franchises, leaving little room for the “lost middle.” Saber positions itself squarely in that middle, championing AA‑level games. He questioned the label, noting that titles like World War Z, which attracted 32 million players, blur the line between AA and AAA.
"It often comes down to budget, not just player count," he said. Willits prefers a diversified slate over a single‑hit strategy. "If you rely on one home run every cycle, you’re setting yourself up for failure. With multiple modest bets, you spread risk, much like the movie industry’s slate financing model where a few hits offset the occasional miss." Keeping budgets in check is essential.
He cited the development cost of Warhammer 40,000 Space Marine 2—about a third of a recent high‑budget North American title—yet it sold 11 million more copies. "You don’t need a $150 million budget to ship a billion‑dollar franchise," he warned.
Willits compared the burn rates of large U.S. studios—often $2 million per month—to Saber’s more modest spend. SnowRunner, a hit for Saber, cost roughly $6 million total, equivalent to just three months of a California studio’s payroll. He ran the numbers: a five‑year development at a $2 million monthly burn equals $120 million in salaries alone, not counting marketing, which can push total costs well beyond $150 million, while the net return per game may be only $25 million after deductions.
"The math doesn’t add up unless you sell an enormous volume," he concluded. On intellectual property, Saber embraces recognizable brands. The studio works with major holders such as Universal, Paramount, Lionsgate and Disney.
Willits noted that World War Z, based loosely on the novel and film, likely attracted more gamers than moviegoers. When selecting a franchise, the first criterion is genuine love for the IP, followed by deep research into fan expectations.
"A Hellraiser roguelike would be a disaster," he warned, emphasizing the importance of A/B testing and focus groups. Not every partnership works out. A large IP owner once insisted on setting a game in a different era than fans wanted; 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 sees such nostalgia‑rich IP as a bridge for both veteran gamers and newcomers who may not be “hardcore” players. The upcoming John Wick game materialized because Saber had previously earned Lionsgate’s trust on Evil Dead: The Game. "Being a good partner opens doors," he said.
He added that every major film studio now seeks video‑game adaptations because that’s where the audience lives. Beyond movie licenses, Saber also handles game IP. Willits praised the partnership with IO Interactive on the Hitman Classic Trilogy Remastered, noting that collaboration allows both studios to improve the original while respecting fan expectations. Similar work was done on Tomb Raider remasters, where subtle enhancements were made based on community feedback.
Internally, Saber nurtures its own properties. MudRunner began as a single employee’s concept and grew into SnowRunner, spawning expansions like Expeditions and RoadCraft, and even influencing the studio’s Road Kings technology.
"If a small team has a great idea, we can support it," Willits said. "We’re flexible enough to allocate 12 people to a passion project if it’s worthwhile." The overarching theme in Willits’ interview is flexibility and disciplined creativity. He urges developers to stay focused, keep budgets realistic, and foster a culture where staff can contribute to multiple titles without becoming siloed. "We’re making video games—that’s the best job in the world.
If someone has a cool idea, we should listen," he concluded.