Matt Webster’s career once seemed destined to stay within Electronic Arts. He began his tenure in 1990 and spent nearly twenty years contributing to Criterion, the studio behind Burnout and Need for Speed, before EA acquired the company 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, Fuse Games. Just three and a half years later the studio is poised to release its debut title, *Star Wars: Galactic Racer*, under the banner of the newly independent publisher Secret Mode. *Galactic Racer* arrives roughly 24 years after the last Star Wars racing game, 2002’s *Racer Revenge*, and it does so in a market where racing games have lost some of their mainstream appeal. Amazon recently withdrew from a publishing agreement with Maverick Games for its upcoming driving title *Clutch*, with Amazon Games head Jeff Gattis stating 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 is convinced there remains a hungry audience for a Star Wars‑themed racing experience. “We clearly believe there’s a fan base for a Star Wars racer,” he told GamesIndustry.biz.
“Our community feedback – video views, article reads – suggests we’re not the only ones who think that.” He points out that genres tend to be cyclical. “Shooters dominated for a while, but they’re not the only game type.
As more people play video games, even the tiniest niches can find a sizable following.” Webster argues that modern gamers crave fresh, compelling experiences that feel novel. He sees *Galactic Racer* as delivering exactly that. The team set out to capture the instant gratification of classic arcade racing while also asking, “What can we do once we’re no longer bound by the physics of tyres and tarmac?” The answer includes tracks that climb the side of an active volcano, courses that feel like roller‑coasters, and other over‑the‑top environments that would be impossible in a realistic simulator. Beyond the arcade thrills, the game deliberately subverts long‑standing racing conventions.
Most racers rely on a car‑collection model that has changed little in two decades. Webster wants to tear that away and borrow mechanics from other genres. He describes *Galactic Racer* as built around meaningful decision‑making, using crashes as a concrete consequence. In many modern racers a rewind button erases failure, but Fuse re‑introduces stakes: “If you crash too often you’re sent back to the start, though you keep some meta‑progression that puts you in a stronger position the next run.” This risk‑reward loop forces players to weigh aggression against caution, especially when they’re on their final allowed crash.
The design draws inspiration from roguelike titles such as *Hades*, *Returnal* and *Slay the Spire*, which prioritize infinite replayability. “Racing thrives on replay value, so marrying it with roguelike structure feels like a match made in heaven,” Webster notes. Each run offers a slightly different configuration, encouraging players to experiment and improve over multiple attempts. Releasing the game on October 6 places it between two major industry events: the highly anticipated *GTA 6* slated for November 19 and earlier September releases like *Control: Resonance* and *Silent Hill: Townfall*.
Webster acknowledges the crowded calendar but reminds us that busy windows are nothing new. “People used to call October ‘Murderer’s Row.’ The market has always been competitive; we just maintain a healthy confidence tempered by realistic expectations.” When asked about the wave of layoffs sweeping the industry, Webster reflects on his long tenure.
He recalls a previous round of cuts fifteen years ago and emphasizes a timeless truth: great teams make great games, and great games find their audience. He observes a growing aversion to risk among larger publishers, which he believes opens space for studios willing to take calculated bets. “If you shy away from risk, you limit opportunity,” he says.
Funding an independent studio in 2023 has not been easy. Webster admits that many people questioned his decision to leave a secure EA career and start Fuse.
“It felt like, ‘Are you serious?’ after 32 years in a corporate bubble.” He outlines the principles that guided him: assemble a talented team, refine a clear creative vision, and build a disciplined plan while staying flexible enough to adapt when that plan proves imperfect. Engaged, motivated talent, he argues, is the engine behind any successful project. Fuse’s core team remains relatively small—about 75 people—for a title that aspires to AAA quality.
This size is intentional; the studio avoids the typical “grow‑shrink‑grow” cycle by relying heavily on external partners. Outsourcing handles transactional asset creation, while co‑development brings external studios into the daily workflow, sharing stand‑ups, Slack channels and even code repositories.
Webster highlights the UK’s mature development ecosystem as a fertile ground for such collaborations, noting that today’s studios are eager to work across multiple projects rather than clinging to a single internal product. Webster believes this hybrid model—small permanent core plus trusted external partners—offers a sustainable path to AAA‑scale games on a realistic budget.
The rapid development timeline of *Galactic Racer* validates the approach: Fuse launched in January 2023, and within three and a half years they have built a studio, assembled a team, learned Unreal Engine 5 from scratch, and delivered a full‑fledged game. Another noteworthy aspect is the infusion of young talent.
While many veteran Criterion staff joined Fuse, several younger developers, including a producer with no prior game‑industry experience, have taken on key roles. “Our young team often outperforms senior hires in speed and effectiveness,” Webster says. He argues that nurturing junior staff not only elevates the product but also creates a more vibrant, collaborative culture. He envisions an intern program in the future, though he cautions that the studio is still pre‑revenue and must balance ambition with financial reality.
Looking back to a period five or six years ago when the industry was flush with cash, Webster recalls how successful studios were encouraged to spin off new studios, only to discover the challenges of independent operation. He criticizes the lingering myth of the “lone creative visionary,” calling it “bullshit.” In his view, games are always the result of collaborative effort, not solitary genius.
As for what lies ahead for Fuse Games, the answer is still forming. The launch of *Star Wars: Galactic Racer* is just the first step. Webster hints at potential future projects and partnerships, emphasizing the need for flexibility and adaptability in today’s independent development landscape. He concludes with a pragmatic optimism: “Good games find a way.
We’re hoping ours does too.”