Saber Interactive has made a series of notable strides in recent years, yet the most headline‑grabbing moment came when CEO Matthew Karch responded bluntly 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, that story was the first thing we brought up. "That was just Matt being sarcastic," Willis laughed. "The bottom line is we’ve never replaced a person with AI.
That would be insane. We don’t use generative AI on titles like Space Marine, Hellraiser, Stuntman or any of our other projects." He went on to explain that the studio is still experimenting with the technology, not because it’s already a production staple, but because no one knows yet where AI will prove most valuable. "In our Rideshare Simulator we’ve got an ‘AI mode’ where we’re testing how the tech can augment gameplay, but everything else – the main storyline, side quests, dialogue – was written by human hands." Willits believes that, eventually, a developer will discover a truly clever use case for modern AI that will make the rest of the industry sit up and take notice.
Until that breakthrough, he likens AI to any other emerging technology: people initially ask, “What can we actually do with this?” and only later does it become woven into everyday workflows. According to Willits, Saber does not currently employ generative AI for core pipeline tasks such as coding, environment creation, or texture generation. Nonetheless, he sees personal advantages.
"I’ve always wished I could draw better – I think it would make me a stronger designer. If I have an idea in my head and need a quick visual, AI could help turn that vision into something tangible," he said. He expects that by next year’s Gamescom we’ll see larger titles that deliberately showcase AI features.
"We’re curious to see how players respond to the AI‑driven elements in our Rideshare game – it’s an exciting experiment." Saber’s split from Embracer in 2024 was, by Willits’ account, "very straightforward". The company remains sizable, with 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 sets on Saber’s development," he quipped. Notably, North America no longer appears on that studio map.
"We have essentially no development happening in North America any longer," Willits clarified, even though the corporate headquarters stay in Florida and a publishing team is still based in the United States. This reflects a broader industry shift. As Amir Satvat of ASGC observed, talent is moving from traditional North‑American hubs to a more global talent pool.
Saber has embraced that reality. "We’re not scared of any region. Some publishers shy away from markets they don’t understand, but we say, ‘Let’s go, find the talent, give them the tools, and make something great.’ You don’t need to be in California to be an outstanding programmer, artist or animator." Willits describes his role as keeping the machine humming. "I make sure teams have what they need, keep the focus on priorities, and prevent scope from ballooning," he said.
He also warned against the old‑fashioned publisher model that puts all its eggs in a single basket, with siloed teams working on one project at a time. Saber, by contrast, spreads its eggs across many baskets and can reassign resources as projects evolve. The studio’s portfolio balances tentpole releases – upcoming titles such as Stuntman: Hollywood, a John Wick game, Turok: Origins and Jurassic Park: Survival – with what Willits calls "bread‑and‑butter" work.
This includes the remaster of the original Hitman trilogy, following similar updates to Tomb Raider, Crysis and Halo. "Those are predictable, steady revenue streams," he explained. Smaller ventures also have a place.
Projects like Docked, Bus Bound and the experimental Rideshare game are low‑risk bets with clearly defined budgets and revenue expectations. The company’s culture encourages staff to hop between titles, preventing anyone from feeling locked onto a single product and allowing global talent to be marshaled where it’s most needed.
Willits revealed that Saber is exploring a movie‑style external development model. "We’re talking to a group of 18‑20 top‑tier developers in the US who could bring creative vision, while we provide the manpower. Instead of a 300‑person team in California burning cash while waiting on concept art, a lean core team can focus on the crucial elements and we bring in additional staff as needed." The publishing landscape has increasingly bifurcated into two extremes: tiny indie budgets or massive evergreen franchises, leaving a "lost middle" that few serve.
Saber positions itself squarely in that middle as a champion of AA titles. Willits admitted the definition of AA is fuzzy.
"Some would call World War Z AA, but with 32 million players it feels more like a AAA effort. In the end it’s about budget size." He argues that a diversified slate is healthier than banking on a single blockbuster.
"If one person has to hit a home run every game, they’ll eventually strike out. With modest releases you can place multiple bets, spread resources and mitigate risk. The film industry has long used slate financing – a developer can partner with private equity or a publisher, fund four or five games, expect three hits and one miss, and still be profitable." The key, Willits stressed, is keeping any single game’s budget in check.
"You have to stay within scope and focus on what truly matters." He illustrated the point with a personal anecdote: "Sometimes I play a game and I 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 a $150 million budget to hit a billion‑dollar revenue." Saber’s cost structure reflects that philosophy.
While a large North‑American studio might burn $2 million a month, Saber’s SnowRunner – which generated hundreds of millions in revenue – cost just $6 million to develop, roughly three months of California‑style development time. "If a big studio spends five years on a game, that’s $120 million in salaries alone, plus marketing and publishing costs that can push the total to $150 million, while the net return per game might only be $25 million after deductions.
The math just doesn’t work." On the IP front, Saber is eager to work with recognizable franchises. "We’ve been very agnostic, collaborating with Universal, Paramount, Lionsgate and Disney," Willits said.
World War Z, loosely based on the 2006 novel and 2013 Brad Pitt film, became a massive hit – "I think more people played the game than saw the movie." Choosing a franchise starts with genuine love for the property and a deep understanding of fan expectations. "If we turned Hellraiser into a roguelike, it would be a disaster," he warned, noting that fan research, A/B testing and focus groups are integral to the decision‑making process. Not every pitch lands.
Willits recounted an instance where a major IP holder wanted a game set in a different era than fans desired. Saber pushed back, and the project was shelved. At Summer Game Fest Saber announced a partnership with Universal on Stuntman: Hollywood, a title that blends influences from Back to the Future, Fast & Furious and Jurassic World.
The nostalgia of a beloved IP draws older fans, while also opening the door for newcomers who might not be hardcore gamers. The upcoming John Wick game materialized because Saber had previously earned Lionsgate’s trust on Evil Dead: The Game.
"They felt we respected their property, so when they needed a team for John Wick they came to us. Being a good partner opens doors – every major studio wants video games because that’s where the audience lives." Saber also handles non‑film IP. Willits praised IO Interactive for collaborating on the Hitman Classic Trilogy Remastered, emphasizing that the goal is to improve the original experience without alienating fans. Similar work was done on Tomb Raider remasters, where small enhancements were added based on what works for the game and what fans want.
Beyond licensed titles, Saber nurtures its own IP. MudRunner began as a single employee’s concept and grew into SnowRunner, which then spawned expansions like Expeditions and RoadCraft, and even fed into the company’s Road Kings technology. Willits highlighted that the studio’s culture encourages prototyping, allowing a 12‑person team to create something impactful if the idea is compelling.
He summed up the studio’s ethos: "We make video games – it’s the best job in the world. If someone has a cool idea, we want to hear it." Looking ahead, Willits calls for more discipline across the industry. "Developers need to be smart, focus on the essentials, and realize you can build a great game with a small, focused team. Build a culture where people can contribute to multiple projects, avoid silos, and stay flexible – that’s the formula for sustainable success."