Matt Webster appeared destined for a lifelong career at Electronic Arts. He started with the company back in 1990 and spent nearly twenty years contributing to the Burnout and Need for Speed franchises while at Criterion, the studio EA acquired in 2004. In early 2023, however, Webster teamed up with fellow Criterion alumni Steve Uphill, Pete Lake, Andrei Shires and Alan McDairmant to launch the independent UK studio Fuse Games.
Three and a half years later the team is on the brink of releasing 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 the intervening period has seen the racing genre lose some of its mainstream appeal. Amazon recently walked away from a publishing agreement with Maverick Games for its upcoming driving title Clutch, with Amazon Games head Jeff Gattis stating, “we didn’t see a real fit in the market for that game.” Meanwhile Criterion has shifted its focus away from racing toward the Battlefield franchise. Despite these signals, Webster is convinced there is still a viable market.
“We clearly believe there is an audience for a Star Wars racing game,” he told GamesIndustry.biz. “We’re not the only ones thinking that, and the response we get from people watching our videos and reading our articles suggests we’re not alone.” He points out that genres tend to be cyclical. “We went through a phase where shooters dominated, but that’s not the only genre. As more people play video games, even the tiniest niches can find a larger audience.” Webster says players are craving “fun, interesting, compelling new experiences they haven’t seen before,” and he feels Galactic Racer delivers exactly that.
The studio set out to capture the instant‑gratification feel of an arcade racer while also asking, “What can we do when we’re no longer bound by tyres and tarmac?” The answer includes tracks that climb the side of an active volcano and sections that feel like a roller‑coaster, he explains. Beyond the high‑octane thrills, Galactic Racer seeks to overturn long‑standing racing conventions.
Traditionally, racing games revolve around a car‑collection model that has remained largely unchanged for two decades. Webster wants to rip that formula apart and borrow mechanics from other genres. One of the most radical changes is the introduction of meaningful consequences for crashing.
In many modern racers a rewind button eliminates risk, but Fuse wants crashes to matter. “If you crash too many times you’re sent back to the start, but you keep some meta‑progression, so you begin from a stronger position. Yet each crash still forces you to weigh the risk you’re taking,” he explains.
The game’s design is also inspired by roguelike titles such as Hades, Returnal and Slay the Spire—games built for infinite replayability. “Racing thrives on replayability, so marrying it with roguelike principles feels like a match made in heaven,” Webster says. This approach encourages players to experiment, learn from failures, and keep coming back for fresh runs.
Releasing a new IP in a crowded calendar is a gamble, especially with heavyweight titles like GTA 6 slated for November 19. Galactic Racer is scheduled for October 6, giving it a modest window before the blockbuster’s launch but still landing amid other major releases such as Control: Resonance and Silent Hill: Townfall on September 24.
Webster acknowledges the density of the schedule but notes that the industry has weathered even busier pre‑Christmas windows in the past. “People used to call September ‘murderers’ row’ and October was packed as well.
We have a healthy confidence tempered by a realistic view of how things might turn out.” When asked about the wave of layoffs sweeping the industry, Webster reflects on his long tenure. He recalls a similar contraction fifteen years ago and stresses a timeless truth: great teams make great games, and great games find an audience.
He argues that the current climate shows a pervasive aversion to risk, which actually creates openings for studios willing to take calculated bets. “If you’re not willing to risk, you limit opportunity,” he says.
Starting a new studio in 2023 has not been easy. Funding was scarce, and many questioned the wisdom of launching an independent venture after three decades at EA. Webster describes the experience as stepping out of a bubble and relying on core principles: building a strong team, refining a creative vision, and maintaining disciplined planning while staying adaptable. He emphasizes that engaged, motivated talent is the engine of success.
Fuse Games operates with a relatively lean core of around 75 people—small for a AAA‑scale project. This size is intentional; the studio avoids the typical “grow‑shrink‑grow‑shrink” cycle by supplementing its core with external partners. Outsourcing handles transactional asset creation, while co‑development partners act as extensions of the team, joining daily stand‑ups, Slack channels, and even the codebase. The UK’s mature development ecosystem makes it an ideal hub for such collaborations, with companies now eager to work on diverse projects rather than clinging to a single internal title.
Webster believes this hybrid model can deliver AAA‑level scope, scale and visual fidelity on a sustainable budget. The rapid development of Galactic Racer—starting Fuse in January 2023 and delivering a finished UE5‑based game in just over three years—demonstrates the viability of the approach. Another notable aspect is the infusion of young talent.
Several producers on the project had never worked in games before, and Webster says the younger developers have often outperformed more senior hires. He observes that seasoned veterans sometimes prefer working with equally senior colleagues, which can stifle mentorship. By nurturing younger staff, Fuse has found fresh energy and ideas that have propelled the project forward. Webster hopes to eventually formalise an internship programme, citing Criterion’s successful intern pipeline as inspiration, though he cautions that developing talent requires a clear-eyed understanding of the associated costs.
Reflecting on the boom years when successful studios received abundant funding, Webster notes that money was often funneled toward “superstar” developers rather than strong teams. He dismisses the myth of the lone creative visionary as “bullshit,” insisting that games are inherently collaborative endeavors. Looking ahead, Fuse Games remains open‑ended about its next steps.
The launch of Galactic Racer is just the beginning, and the studio is already exploring potential opportunities while staying flexible and adaptable—a necessity for independent developers in today’s volatile market.