Saber Interactive has accomplished a great deal over the last few years, yet the most headline‑grabbing story recently was 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 incident. "That was just Matt being sarcastic," Willits laughed.
"The bottom line is we have never replaced a human with AI. It would be absurd. None of the scripts for Space Marine, Hellraiser, Stuntman or any of our other titles were generated by a machine." He went on to explain that while Saber isn’t using generative AI to craft dialogue or design levels, the team is experimenting with the technology in a more limited context.
"In our experimental title Rideshare Simulator we have an ‘AI mode’ that lets us test how the system behaves, but everything else – the main story, side quests, even the smallest mission – was written by people." Willits believes that a breakthrough use‑case for true AI integration will eventually emerge, and when it does the industry will instantly recognize its potential. "It will be like any other disruptive tech in history. At first people ask, ‘What can we do with this?
How does it work?’ Then we discover the everyday applications and it becomes part of the workflow." Although Saber does not currently employ generative AI for code, environment creation, or texture generation, Willits sees personal benefits. He confessed that he has always wished he could draw, feeling that a stronger visual skill set would make him a better designer. "If I can picture something in my head and then have a tool that helps me get that vision onto the screen, that’s a real advantage for me," he said. Looking ahead, he expects the next Gamescom to showcase larger projects that lean more heavily on AI.
"We’ll see how our Rideshare experiment is received and whether it opens the door to bigger titles that use AI in meaningful ways. It’s an exciting lab for us." Saber’s separation from Embracer in 2024 was, by Will Willits’s account, "very straightforward". The company remains sizable, with roughly 3,500 staff spread across 15 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 development," he quipped. Notably, North America no longer appears on the development map. "We don’t have any core development teams in North America any longer," Willits clarified, even though the corporate headquarters stay in Florida and a publishing office remains stateside.
This mirrors a broader industry trend that Amir Satvat of ASGC described as moving headcount from North America to virtually anywhere else. Saber has embraced the shift wholeheartedly. "We aren’t scared of any region. Some publishers hesitate to work in places they don’t understand, but we say, ‘Let’s go, find talent, give them what they need, and create something amazing.’ You don’t need to be in California to be a brilliant programmer, artist or animator." Willits sees his role as keeping the operation humming smoothly.
"I make sure teams have the resources they need, keep focus on the priorities, and prevent scope from spiraling out of control." He also warned against the old‑fashioned publisher model that puts all its eggs in a single basket with siloed teams. Saber, by contrast, spreads its eggs across many baskets and can reassign groups between projects as market conditions dictate.
The studio balances blockbuster‑type releases – upcoming titles like Stuntman: Hollywood, John Wick, 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 that keep the lights on," he said.
Smaller, more experimental bets also have a place. Projects such as Docked, Bus Bound and the Rideshare experiment are low‑risk, cost‑predictable ventures that let the studio allocate resources flexibly. "Our culture lets people hop between games, so nobody feels locked onto a single title.
When a project needs extra manpower, we can pull talent from around the globe." Willits revealed that Saber is exploring a movie‑style external development model. "We’re talking to a tight‑knit group of 18‑20 top‑tier developers in the US who could bring creative vision, while we provide the production muscle. Instead of a massive California team burning cash while concept art is drawn, a small, focused crew can deliver the core ideas and we scale up as needed." The publishing landscape has split into two extremes: tiny indie budgets or massive evergreen franchises, leaving the "lost middle" underserved. Saber positions itself in that middle, championing the AA tier.
Willits admitted the definition is fuzzy. "World War Z sold 32 million copies – is that AA or AAA?
It often comes down to budget size rather than pure sales." 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’re setting yourself up for failure. With modest releases you can place multiple bets, spread risk, and use 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 budgets in check is essential. "You have to stay within scope and focus on what truly matters," Willits emphasized.
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. For example, Space Marine 2 cost about a third of what a major North American studio spent on a comparable title, yet it sold 11 million more copies. You don’t need a $150 million budget to generate a billion in revenue." He compared development costs: a large North American studio might burn $2 million a month, meaning a five‑year project could cost $120 million in salaries alone, not counting marketing.
By contrast, Saber’s SnowRunner, which generated hundreds of millions, was built for roughly $6 million – essentially three months of a California‑style development budget. "The math doesn’t add up for massive spend unless you sell an enormous volume," he warned. On intellectual property, Saber is eager to work with recognizable brands.
"We’re agnostic about who we partner with – Universal, Paramount, Lionsgate, Disney – and we’ve had great success. World War Z, based on the novel and film, probably saw more players than the movie itself." Choosing a franchise starts with genuine love for the property and a deep understanding of fan expectations. "If we turned Hellraiser into a roguelike, fans would hate it," Willits said, noting that fan research, A/B testing and focus groups are a huge part of the decision‑making process.
Not every pitch lands. He recounted an instance where a major IP holder wanted a game set in a different era than fans desired; Saber pushed back, the partnership fell apart, and the project was shelved.
At Summer Game Fest Saber announced a collaboration with Universal on Stuntman: Hollywood, a title that blends influences from Back to the Future, Fast & Furious and Jurassic World. Willits sees the value of such IPs as two‑fold: they provide nostalgia for older gamers and act as an entry point for casual players who might not otherwise pick up a game.
The upcoming John Wick game emerged from a prior relationship with Lionsgate on Evil Dead: The Game. "They trusted us because we respected their property, and that opened the door for John Wick," Willits explained. He added that every major film studio wants a video‑game extension because that’s where the audience lives. Saber also handles established game IPs.
Willits praised the partnership with IO Interactive on the Hitman Classic Trilogy Remastered, emphasizing collaboration to improve rather than merely repackage the originals. Similar work was done on Tomb Raider remasters, with careful tweaks that honor fan expectations. Beyond licensed titles, Saber nurtures its own creations.
MudRunner began as a single developer’s concept and grew into SnowRunner, which spawned spin‑offs like Expeditions, RoadCraft and the Road Kings technology suite. "We support small prototypes; if a great idea comes from a team of twelve, we can develop it," Willits said. The overarching theme is flexibility and a culture that encourages staff to pursue the projects they find exciting.
"Making video games is the best job in the world. If someone has a cool idea, we want to hear it." Finally, Willits called for greater discipline across the industry. "Developers need to be smart, focus on the essentials, and understand that a great game can be built with a lean team. Build a culture where people can contribute to multiple titles, avoid silos, and stay adaptable – that’s the recipe for long‑term success."