Matt Webster’s career once seemed destined to stay within the walls of Electronic Arts. He started at EA in 1990 and spent nearly twenty years developing titles for the Burnout and Need for Speed franchises while they were under the umbrella of Criterion, a studio EA acquired 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.
Just three and a half years later the fledgling company is on the verge of releasing its debut title, Star Wars: Galactic Racer, which will be published by the newly independent label Secret Mode. Galactic Racer arrives roughly 24 years after the last Star Wars‑themed racing game, the 2002 release Racer Revenge, and it does so at a time when the racing genre has largely slipped out of the mainstream spotlight. Recent industry moves illustrate this trend: Amazon abandoned a publishing agreement with Maverick Games for its upcoming driving title Clutch, with Amazon Games head Jeff Gattis noting that the market simply didn’t have room for another racer. Likewise, Criterion itself has pivoted away from racing to focus on the Battlefield franchise.
Despite these signals, Webster is convinced there is still a viable audience for a Star Wars racing experience. “We clearly believe there’s a fan base for a Star Wars‑themed racer,” he told GamesIndustry.biz. “Our community feedback – video views, article reads – suggests we’re not the only ones who think so.” He points out that gaming genres tend to be cyclical.
After a period dominated by shooters, other styles inevitably re‑emerge as players look for fresh, compelling experiences they haven’t encountered before. “As more people play video games, even the tiniest niches can find a larger audience,” Webster added. The core vision for Galactic Racer is to blend the instant gratification of classic arcade racing with the creative freedom that comes from shedding the constraints of realistic tyres and tarmac.
“We have tracks that climb the side of an active volcano,” he explained. “It feels like a roller‑coaster at times.” Beyond the high‑octane thrills, the game is designed to upend long‑standing genre 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 distinctive innovations is the emphasis on consequential decision‑making, especially when a player crashes. Traditional racers often include a rewind feature that erases the impact of mistakes, but Galactic Racer re‑introduces real stakes. “If you crash too often, you’re sent back to the start,” he said, “though you retain some meta‑progression that puts you in a stronger position the next run. The final crash feels tense; you start weighing risk versus reward.” This design philosophy draws inspiration from roguelike titles such as Hades, Returnal and Slay the Spire, which prioritize infinite replayability.
“Racing is inherently replay‑driven, so marrying it with roguelike loops feels like a perfect match,” Webster noted. The game’s risk‑reward system is deliberately unforgiving, a bold departure from the hand‑holding typical of many AAA releases. Webster acknowledges the challenge of launching a new IP in a crowded calendar that includes heavyweight titles like GTA 6, slated for November 19, and other major releases such as Control: Resonance and Silent Hill: Townfall on September 24. Galactic Racer’s launch date of October 6 places it between these peaks, a window he believes is still viable.
“September has always been busy, but October has historically been a ‘murderer’s row’ of releases. We’re aware of the competition, yet we maintain a healthy confidence tempered by realistic expectations,” he said. When asked about the wave of layoffs sweeping the industry, Webster reflected on his long tenure.
He recalled a similar contraction fifteen years ago and emphasized a timeless truth: great teams produce great games, and great games find their audiences. He warned that an industry averse to risk can stifle innovation, but also noted that such caution creates opportunities for developers willing to take calculated bets. Funding an independent studio in 2023 has not been easy.
“People told me I was brave to start an indie studio now,” Webster recalled. After thirty‑two years at EA, stepping into an uncertain environment required a return to fundamentals: building a skilled team, clarifying a creative vision, and maintaining disciplined planning while staying flexible. He stresses that a motivated, engaged team is the engine that drives quality. Fuse Games operates with a relatively lean core of about 75 staff members, a conscious decision to avoid the boom‑and‑bust cycle of rapid scaling that many studios experience.
Instead, the studio leans on external partners to fill gaps, ranging from transactional asset outsourcing to deep co‑development relationships where outside studios attend daily stand‑ups, join Slack channels and contribute directly to the code base. Webster highlighted the UK’s mature development ecosystem as especially conducive to this collaborative model, noting a cultural shift from reluctant, grudging assistance to enthusiastic, value‑aligned partnerships. According to Webster, this hybrid approach allows a studio to deliver a AAA‑level experience—both in scope and visual fidelity—on a more sustainable budget.
The rapid development timeline of Galactic Racer serves as proof: Fuse was founded in January 2023, and within three and a half years the team built a studio, assembled a workforce, and created a game using Unreal Engine 5—technology none of them had mastered at the outset. “It feels like an achievement, and we did it in a healthy, sustainable way,” he said.
A notable aspect of Fuse’s strategy is its investment in younger talent. While the studio includes veterans from Criterion, many of its developers are fresh faces, and one producer has never worked in games before. “Our young talent is often smarter and more effective than I was at that age,” Webster observed. He believes nurturing junior staff not only accelerates innovation but also creates a more dynamic workplace than relying solely on seasoned developers who may prefer minimal interaction.
Looking ahead, Webster hopes to formalize an internship program to further cultivate emerging talent, though he admits the studio is still pre‑revenue and financially cautious. He draws inspiration from Criterion’s successful intern pipelines and acknowledges the costs associated with developing new talent, emphasizing the need for realistic expectations. Reflecting on the industry’s past focus on “singular creative visionaries,” Webster dismisses the notion as a myth. “Games are made by collaborations of individuals, not by one lone genius,” he asserted, adding that the previous era’s abundant funding often went to superstar developers rather than solid teams.
He argues that the current climate, which favors collaborative, risk‑aware approaches, is more conducive to sustainable success. As for Fuse’s future beyond Galactic Racer, Webster admits the roadmap is still taking shape. The launch will be just the beginning, and the studio remains open to new opportunities and partnerships. “Independent developers need to stay flexible and adaptable,” he concluded, “and we’re excited to see where the next chapter leads us."