Matt Webster’s career once seemed destined to stay within Electronic Arts. He started at the company in 1990 and spent nearly twenty years contributing to Criterion, the studio behind Burnout and Need for Speed, before EA acquired it in 2004.
In early 2023, however, Webster teamed up with former Criterion colleagues Steve Uphill, Pete Lake, Andrei Shires and Alan McDairmant to launch an independent UK studio called Fuse Games. Three and a half years later the fledgling team is on the brink of releasing its debut title, *Star Wars: Galactic Racer*, which will be published by the newly independent label Secret Mode. The new game arrives roughly 24 years after the last Star Wars‑themed racing experience, 2002’s *Racer Revenge*. In the intervening decades the racing genre has struggled to maintain a prominent spot in the market.
Amazon recently walked away from a publishing agreement with Maverick Games for a forthcoming driving title called *Clutch*, with Amazon Games head Jeff Gattis explaining that the project didn’t fit the current market landscape. Meanwhile Criterion, once a powerhouse of arcade‑style racers, has shifted its focus to the *Battlefield* franchise.
Despite these signals, Webster remains convinced there is still demand for a Star Wars racing game. “We clearly see an audience for a Star Wars‑based racer,” he told *GamesIndustry.biz*.
“We’re not the only ones thinking that, and the response we get from people watching our videos or reading our articles suggests we’re not alone.” He points out that genres tend to be cyclical. After a period where shooters dominated the conversation, other types of games inevitably resurface. “As more people play video games, even the tiniest niche can find a larger crowd,” Webster added. According to Webster, modern gamers crave fresh, compelling experiences that feel novel.
He believes *Galactic Racer* delivers exactly that. The studio aimed to capture the instant‑gratification feel of classic arcade racers while also asking, “What can we do when we’re not limited by real‑world tyres and tarmac?” The answer, he says, is tracks that climb the sides of active volcanoes, courses that feel more like roller‑coasters than conventional circuits, and other gravity‑defying set‑pieces that would be impossible in a traditional racing game. Beyond the high‑octane thrills, the title seeks to upend long‑standing genre conventions.
Most racing games have relied on a car‑collection model for the past two decades. Webster wants to rip that formula up and borrow mechanics from other genres.
One of the biggest innovations is the introduction of meaningful consequences for crashing. In many modern racers a “rewind” button erases the penalty for a mistake, but *Galactic Racer* reinstates risk: crash too often, and you’re sent back to the start, though you retain some meta‑progression that makes you slightly stronger on the next run.
This design is inspired by roguelike titles such as *Hades*, *Returnal* and *Slay the Spire*, which emphasize infinite replayability. “Racing thrives on replayability, so pairing it with roguelike principles feels like a match made in heaven,” Webster explains. The game’s risk‑reward system forces players to weigh each maneuver carefully.
When you’re on your final allowable crash, the tension rises; you start to feel the weight of every decision, which adds a strategic layer rarely seen in mainstream racing titles. This approach marks a bold departure from the hand‑holding that has become common in AAA releases. Timing the launch is another strategic consideration.
*Galactic Racer* is slated for release on October 6, a comfortable window before the highly anticipated *GTA 6* drops on November 19, yet after other major releases like *Control: Resonance* and *Silent Hill: Townfall* on September 24. Webster acknowledges that the pre‑holiday calendar is traditionally crowded, recalling past years when September was dubbed “murderer’s row.” He remains confident, however, noting that “good games find a way” and that Fuse Games maintains a realistic outlook on how the market might respond. Webster also reflects on the current wave of industry layoffs.
Having witnessed a similar downsizing period fifteen years ago, he stresses that strong teams produce great games, and great games attract audiences. He observes a growing aversion to risk within larger publishers, which creates opportunities for studios willing to make calculated bets. “If you’re not willing to take those risks, you limit your own possibilities,” he says. Running an independent studio in 2023 has not been without challenges.
Securing funding proved difficult; many people questioned the wisdom of launching a new studio in a tough economic climate. Webster draws on his 32‑year EA experience, emphasizing core principles: assemble a talented team, refine a clear creative vision, and maintain disciplined planning—while accepting that any plan will evolve.
He believes that engaged, motivated talent is the engine of success. Fuse Games operates with a relatively lean core of about 75 people, a deliberate choice to avoid the typical “grow‑shrink‑grow” cycle seen in larger studios. Instead, the studio augments its capabilities through external development partners.
These collaborations range from transactional outsourcing for asset creation to full co‑development, where external teams attend daily stand‑ups, join Slack channels, and contribute directly to the codebase. Webster highlights the UK’s mature development ecosystem as especially conducive to such partnerships, noting that today’s studios are eager to work across multiple projects, keeping their staff fresh and enthusiastic.
The hybrid model has allowed Fuse to deliver a AAA‑scale game on a sustainable budget. The development timeline—just three and a half years from the studio’s founding to a near‑complete product—demonstrates the efficiency of this approach. “We started Fuse in January 2023, built a team, learned Unreal Engine 5 from scratch, and now we have a polished game,” Webster says, calling the achievement “healthy and sustainable.” A noteworthy aspect of Fuse’s workforce is the infusion of young talent. While the studio includes veterans from Criterion, many team members are newcomers to the industry; one producer had never worked on a game before joining.
Webster praises this fresh perspective, claiming that younger developers often bring more agility and innovative thinking than some seasoned hires. He argues that nurturing young talent benefits both the newcomers and the senior staff, fostering a collaborative environment rather than the isolated “lone‑visionary” myth that has plagued the industry. Looking ahead, Webster hopes to formalize an internship program to further cultivate emerging talent, though he admits the studio is still pre‑revenue and must be cautious with resources.
He reflects on a period five or six years ago when abundant funding led many successful developers to launch their own studios, only to discover the reality was far tougher than expected. The industry’s previous fixation on a single creative visionary, he says, is “bullshit”—games are always the product of collaborative effort. As for Fuse’s next steps, the future remains open‑ended. The launch of *Star Wars: Galactic Racer* is just the beginning, and the studio is already exploring potential opportunities and ideas for subsequent projects.
Webster emphasizes flexibility and adaptability as essential traits for independent developers navigating today’s volatile market.