Matt Webster’s career once seemed destined to stay within the walls of Electronic Arts. He started at EA in 1990 and spent almost twenty years developing titles for the Criterion team, the studio behind Burnout and Need for Speed that EA acquired in 2004. In early 2023, however, Webster joined forces with former Criterion colleagues Steve Uphill, Pete Lake, Andrei Shires and Alan McDairmant to launch an independent British studio called Fuse Games. Just over three years later the fledgling company is preparing the release of its debut title, Star Wars: Galactic Racer, which will be published by the newly autonomous label Secret Mode.
Galactic Racer arrives roughly 24 years after the last Star Wars‑themed racing game – 2002’s Racer Revenge – and it does so at a moment when the racing genre has generally slipped out of the mainstream spotlight. Amazon recently cancelled a publishing agreement with Maverick Games for its upcoming driving title Clutch, with Amazon Games head Jeff Gattis explaining that the market simply didn’t seem to accommodate the project.
Meanwhile Criterion, once a powerhouse of arcade‑style racing, has pivoted to the Battlefield franchise. Despite these signals, Webster is convinced there remains a viable audience for a Star Wars‑infused racer. “We definitely think there’s a crowd that wants a Star Wars racing experience,” he told GamesIndustry.biz.
“Our community – people watching our videos, reading our posts – suggests we’re not the only ones who feel that way.” He adds that gaming trends are cyclical. “Shooters dominated for a while, but that doesn’t mean other genres can’t re‑emerge. As more people play video games, even the tiniest niches can find a larger following.” Webster believes gamers are hungry for fresh, compelling experiences that feel new. He sees Galactic Racer as a vehicle for that ambition: “We want to deliver something that feels both fun and innovative.” To achieve this, Fuse is leaning into the instant‑gratification of classic arcade racing while also asking, “What can we do when we’re no longer limited by tyres and tarmac?” The answer, he explains, includes tracks that climb the side of an active volcano and courses that feel more like roller‑coasters than traditional circuits.
Beyond the thrill‑ride factor, Galactic Racer deliberately subverts long‑standing racing conventions. Most racing games have relied on a static car‑collection model for the past two decades. Webster wants to tear that formula apart and borrow mechanics from other genres.
One of the most striking examples is the game’s approach to crashing. In many modern racers, a rewind button eliminates any real penalty for a mistake. Fuse instead re‑introduces consequence: repeated crashes send the player back to the start, though some meta‑progression carries over, giving a sense of forward momentum even after a setback. This risk‑reward loop forces players to weigh each maneuver carefully, especially when they’re down to their final “life” and the stakes feel palpable.
The design philosophy draws heavily from roguelike titles such as Hades, Returnal and Slay the Spire, which prioritize infinite replayability. “Racing thrives on replay value,” Webster notes, “so marrying it with roguelike loops feels like a perfect match.” The result is a game that encourages multiple playthroughs, each with its own set of challenges, upgrades and strategic decisions.
Releasing the game on October 6 places it between a crowded September launch window – which includes heavyweights like Control: Resonance and Silent Hill: Townfall – and the highly anticipated GTA 6, slated for November 19. Webster acknowledges the competition but points out that the industry has long endured busy pre‑holiday schedules. “People used to call October ‘Murderer’s Row,’ and it’s always been packed.
We’re confident, but we keep a realistic view of how things might unfold.” The conversation about risk extends to the broader industry climate. Webster reflects on the wave of layoffs that has swept through major publishers, recalling a similar contraction fifteen years earlier. “Great teams make great games, and great games find an audience,” he says.
He argues that the current aversion to risk creates openings for studios willing to take calculated bets. “If you shy away from risk, you limit your opportunities,” he warns. Funding an independent studio in 2023 has not been easy.
After three decades at EA, Webster found himself navigating a new reality: “People told me I was brave for starting an indie studio now.” He emphasizes a core set of principles – building a talented team, sharpening a creative vision, and maintaining disciplined planning while staying adaptable. “The plan is always wrong, but it’s the best version you have today,” he says, underscoring the need for constant iteration. Fuse Games operates with a relatively lean core of about 75 staff, a deliberate choice to avoid the boom‑and‑bust staffing cycles common in larger studios. Instead, the studio supplements its capabilities through external development partners.
This model ranges from pure outsourcing for asset creation to deep co‑development where external teams join daily stand‑ups, Slack channels and even the codebase. Webster highlights the UK’s mature development ecosystem as a fertile ground for such collaborations, noting that today’s external studios are eager to work on diverse projects rather than merely keeping the lights on. According to Webster, this hybrid approach allows a AAA‑scale project to be delivered on a more sustainable budget.
“We proved you can build a game of this scope, fidelity and ambition with a small permanent team plus trusted partners,” he says, adding that the rapid three‑and‑a‑half‑year development timeline – from Fuse’s founding in January 2023 to the imminent launch – validates the model. Another notable aspect of Fuse’s strategy is its emphasis on youthful talent. While the studio includes veterans from Criterion, many of its developers are newcomers, and one producer has never worked in games before.
“Our young team is smarter and more effective in many ways than I was at that age,” Webster admits. He observes that seasoned developers often prefer senior colleagues who can work independently, which can stifle mentorship. Fuse, by contrast, actively nurtures junior staff, believing that mutual growth motivates both mentors and mentees.
He hopes to formalize this effort with an intern program, though he cautions that the studio is still pre‑revenue and must be realistic about the costs involved. Reflecting on the industry’s past excesses, Webster recalls a period when successful games generated enough cash for their creators to spin off independent studios, only to discover that running a studio is far harder than developing a hit title. He criticizes the lingering myth of the “lone visionary” as “bullshit,” insisting that games are always collaborative endeavors.
“Unless you’re a solo developer, great games are built by teams of individuals,” he asserts. Looking ahead, Fuse Games has no fixed roadmap beyond Galactic Racer’s launch. “The launch is just the beginning,” Webster says. “We’ll be open to new opportunities and will shape our next steps based on what the market and our team need.” Flexibility, he believes, is essential for independent developers navigating an ever‑changing landscape.
In summary, Matt Webster’s journey from EA veteran to founder of a small yet ambitious studio illustrates a broader shift in the gaming world: as audiences expand, even the most niche concepts can find a foothold, provided developers are willing to innovate, embrace risk, and cultivate fresh talent while leveraging collaborative development models.