Matt Webster’s career once seemed destined to stay within the walls of Electronic Arts. He began his tenure at the company in 1990 and later spent almost twenty years developing titles for Criterion, the studio behind Burnout and the Need for Speed series, which 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. Roughly three and a half years later, Fuse is on the brink of releasing its debut title, Star Wars: Galactic Racer, under the banner of the newly autonomous publisher Secret Mode. Galactic Racer arrives about 24 years after the last Star Wars‑themed racing game—2002’s Racer Revenge—at a time when the racing genre has generally slipped out of the limelight. Amazon recently cancelled a publishing agreement with Maverick Games for a forthcoming driving title called Clutch, with Amazon Games head Jeff Gattis explaining, “we didn’t see a real fit in the market for that game.” Meanwhile, Criterion itself has pivoted away from racing to focus on the Battlefield franchise.
Despite these signals, Webster remains convinced there is still a hungry audience for a Star Wars racing experience. “We clearly think there’s an audience for a Star Wars racing game,” he told GamesIndustry.biz. “We’re not the only ones who feel that, and the reaction to our videos and articles suggests we’re not alone.” He points out that video‑game genres tend to be cyclical.
After a period dominated by shooters, other types inevitably resurface. “As more people play video games, even the tiniest niches find a bigger audience,” Webster said.
He believes players are craving “fun, interesting, compelling new experiences they haven’t seen before,” and he feels Galactic Racer delivers exactly that fresh angle. Fuse’s design philosophy for Galactic Racer embraces the instant gratification of classic arcade racers while also asking, “What can we do once we’re no longer bound by tyres and tarmac?” The result is a series of wildly imaginative tracks, such as a course that spirals up the side of an active volcano, turning each race into a roller‑coaster‑like spectacle.
Yet the studio is not merely chasing adrenaline; it wants to upend long‑standing conventions within the genre. Traditional racing games have relied on a static car‑collection model for roughly two decades. Webster wants to “rip that up” and borrow mechanics from other genres. One of the most striking innovations is the introduction of meaningful consequences for crashing.
In many modern racers, a rewind button eliminates penalty, but Fuse intends to re‑introduce risk. Crashing too often forces the player back to the start of a run, though a portion of meta‑progression carries over, placing the racer in a stronger position for the next attempt. This risk‑reward loop is inspired by roguelike titles such as Hades, Returnal and Slay the Spire—games built around infinite replayability.
“Racing thrives on replayability,” Webster noted, “so pairing it with roguelike principles feels like a match made in heaven.” The consequence system is designed to make each crash feel weighty. When a player is on their final allowed crash, the tension spikes: “You lean forward, you start to think about the risk you’re taking,” Webster explained. This design choice deliberately moves away from the hand‑holding common in many AAA releases, aiming instead for a more daring, player‑driven experience. Timing the launch is another strategic decision.
Galactic Racer is slated for October 6, comfortably before the anticipated release of GTA 6 on November 19, yet close enough to ride the wave of other high‑profile releases such as Control: Resonance and Silent Hill: Townfall, both arriving on September 24. Webster acknowledges the crowded pre‑holiday window but reminds us that historically, September and October have always been busy periods for major titles.
“I was always told good games will find a way,” he said, expressing a measured optimism. Webster also reflects on the broader industry climate, noting a wave of layoffs and a prevailing aversion to risk.
He argues that this risk‑averse environment creates opportunities for studios willing to make calculated bets. “Great teams make great games, and great games find an audience,” he observed, recalling the layoffs of about fifteen years ago and emphasizing that risk‑taking is essential for innovation.
Funding an independent studio in 2023 has proven challenging. After 32 years at EA, Webster found himself navigating a new reality: “People were like, ‘you’re brave doing an independent studio in 2023.’” He stresses that the core principles he learned at EA—building a strong team, refining a creative vision, and maintaining disciplined planning—remain vital. Even when plans change, the focus stays on staying true to those values and motivating the talent.
Fuse operates with a relatively lean core team of roughly 75 people, a conscious decision to avoid the typical “grow‑shrink‑grow‑shrink” cycle that plagues many large studios. Instead, Fuse relies heavily on external development partners to fill gaps. This hybrid model ranges from transactional outsourcing for asset creation to deep co‑development where external studios join daily stand‑ups, Slack channels, and even the codebase. Webster highlights the UK’s mature development ecosystem as especially conducive to such collaborations, noting a cultural shift from reluctant outsourcing to enthusiastic partnership.
According to Webster, this approach proves that a AAA‑scale game can be delivered on a sustainable budget when a small permanent team is augmented by trusted external partners who share the same values. The rapid development timeline of Galactic Racer—starting Fuse in January 2023 and delivering a finished product in just three and a half years—serves as evidence that the model works.
The studio’s talent mix further underscores its forward‑looking ethos. Alongside the Criterion veterans, Fuse has recruited many younger developers, even hiring a producer with no prior game‑industry experience. “We are thrilled with the young talent we’ve got,” Webster said. He believes these newcomers often bring fresh perspectives and efficiency that can surpass that of more seasoned developers.
While senior developers may prefer working with peers who require minimal mentorship, Webster argues that nurturing young talent benefits both parties and fosters a more dynamic workplace. Looking ahead, Webster hopes to formalize an internship program to cultivate the next generation of developers, though he cautions that Fuse is still pre‑revenue and must manage expectations.
He cites Criterion’s successful intern initiatives as a model, acknowledging that developing talent comes with costs that must be recognized from the outset. Reflecting on the era when the industry was flush with cash, Webster recalls how many successful teams received funding to spin off into their own studios, only to discover how difficult independent development can be. He criticizes the industry’s fixation on the “single creative visionary” myth, calling it “bullshit.” In reality, he asserts, games are collaborative endeavors. As for Fuse’s future beyond Galactic Racer, Webster admits plans are still fluid.
The studio sees the launch as just the beginning and is open to exploring new opportunities, but stresses that flexibility and adaptability are essential for independent developers today. The overarching message is clear: by blending nostalgic arcade thrills with modern roguelike mechanics, embracing a lean‑plus‑partner development model, and investing in youthful talent, Fuse Games aims to prove that even the smallest niches can capture a growing, enthusiastic audience.