Tim Willins, the chief creative officer of Saber Interactive, recently disclosed that the company has essentially ceased any substantial game development activities within North America. While the corporate headquarters and the publishing division remain anchored in the United States, the actual creation of games now takes place across a network of fifteen studios scattered around the globe. These studios are located in a diverse set of countries, including Serbia, Armenia, Georgia, Spain, Portugal, Sweden, Argentina, and Australia, illustrating Saber’s shift toward a truly international development model. Historically, before its separation from the Embracer Group in 2024, Saber Interactive oversaw a number of North‑American subsidiaries.
It owned Aspyr in Texas, Demiurge Studios in Boston, Tripwire Interactive in Georgia, and Shiver Entertainment in Florida. When Saber split from Embracer, those three studios—Aspyr, Demiurge, and Tripwire—remained under Embracer’s umbrella, while Shiver Entertainment was sold to Nintendo in May 2024. Another former Saber‑affiliated studio, Beamdog in Canada, also stayed with Embracer after the divestiture. Despite the broader retreat from North‑American development, Saber still retains ownership of New World Interactive, which maintains offices in Denver, Colorado, and Calgary, Alberta.
New World is best known for the 2018 tactical shooter *Insurgency: Sandstorm*, a title that received a significant update in May 2023. The studio experienced a round of layoffs in 2023 as Saber prepared for its eventual split from Embracer, reflecting the broader industry trend of restructuring to align with new strategic priorities. In an interview with GamesIndustry.biz, Willins emphasized that modern game companies need to be “smart about where you make your game.” He explained that Saber is open to establishing development hubs anywhere the talent exists, rejecting the notion that geographic location—particularly proximity to traditional industry centers like California—should dictate creative success.
“We are not afraid of any territories,” he said. “Some publishers are hesitant to work in regions they don’t understand, but we think, let’s go, let’s find talented people, give them the tools they need, and create something great.
You don’t have to be in California to be a brilliant programmer, artist, or animator.” Willins also took the opportunity to critique the often excessive budgets allocated to large‑scale AAA projects. He cited a recent, unnamed blockbuster as an example of wasteful spending, noting that the development cost for *Warhammer 40,000: Space Marine 2* was roughly one‑third of the budget of another major title released only a few months earlier by a large North‑American studio—yet the latter sold 11 million more copies. “You don’t need to spend $150 million to make a billion‑dollar franchise,” he argued. He went on to break down the economics of high‑cost development.
A typical big‑studio North‑American operation can burn more than $2 million per month in salaries and overhead. By contrast, Saber’s own *SnowRunner*—a game that has generated hundreds of millions in revenue—cost about $6 million to produce, which is roughly equivalent to three months of development in a California‑based studio. If a major studio spends five years (60 months) on a title, the payroll alone can total $120 million.
Adding marketing, publishing, and other ancillary expenses can easily push the total budget beyond $150 million, while the profit per unit sold may only be around $25. “The math just doesn’t work,” Willins concluded. “You have to sell a massive number of copies to break even, and that’s the problem.” The interview highlighted a broader industry conversation about efficiency, talent distribution, and the sustainability of ever‑larger development budgets.
By spreading its development across multiple international studios, Saber aims to tap into diverse pools of creativity while keeping costs in check. This approach reflects a growing belief that high‑quality games can be produced outside traditional hubs, provided that studios have access to the right technology, management practices, and cultural support. Willins’ remarks also underscore a strategic shift for Saber Interactive moving forward. The company appears committed to a decentralized model that leverages global talent, reduces reliance on costly North‑American labor markets, and prioritizes fiscal responsibility without sacrificing creative ambition.
As the gaming landscape continues to evolve, Saber’s experience may serve as a case study for other publishers and developers seeking to balance artistic vision with economic realities. For readers interested in the full conversation, the complete GamesIndustry.biz interview with Tim Willins is available online.