Matt Webster appeared destined for a lifelong career at Electronic Arts when he joined the company back in 1990. Over the next two decades he contributed to iconic franchises such as Burnout and Need for Speed while working at Criterion, the 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 studio in the United Kingdom called Fuse Games. Just three and a half years later the fledgling studio is poised to ship its debut title, Star Wars: Galactic Racer, under the banner of the newly autonomous publisher Secret Mode.
Galactic Racer arrives roughly 24 years after the last Star Wars‑themed racing game, the 2002 release Racer Revenge. In the intervening years the racing genre has lost much of its mainstream appeal. Amazon recently walked away from a publishing agreement with Maverick Games for a forthcoming driving title called Clutch, with Amazon Games head Jeff Gattis noting that the market simply didn’t seem to need another racer. Meanwhile Criterion, once a powerhouse of arcade‑style racing, has pivoted toward the Battlefield franchise, underscoring the broader industry shift away from pure racing experiences.
Despite these trends, Webster is confident there is still a hungry audience for a Star Wars racing game. “We clearly believe there is a market for a Star Wars racer,” he told GamesIndustry.biz.
“We’re not the only ones who feel that way, and the response we get from people watching our videos and reading our articles suggests we’re not alone.” He argues that video‑game genres tend to be cyclical. After a period dominated by shooters, other genres inevitably resurface as the player base broadens. “The more people play games, the larger the audience becomes for even the tiniest niche,” he explained.
Webster says players are craving "fun, interesting, compelling new experiences that they haven’t seen before," and he feels Galactic Racer delivers on that promise. The studio set out to capture the instant‑gratification feel of classic arcade racers while also asking, “What could we do if we weren’t limited by tyres and tarmac?” The answer, he says, includes tracks that climb the side of an active volcano and courses that feel more like roller‑coasters than traditional circuits.
Beyond the high‑octane thrills, Galactic Racer aims to upend long‑standing conventions of the racing genre. Historically, most racers have been built around a car‑collection model that has remained largely unchanged for two decades. Webster wants to tear that model 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 erases mistakes, but Webster believes that removing that safety net can re‑introduce tension and strategic decision‑making. When a player crashes too often, they are sent back to the start of the run, yet they retain a portion of their meta‑progress, emerging from the setback in a slightly stronger position. This risk‑reward loop forces players to weigh the danger of aggressive driving against the potential payoff. The design philosophy also draws heavily from roguelike titles such as Hades, Returnal, and Slay the Spire, which prioritize infinite replayability.
"Racing thrives on replayability," Webster notes, "so combining it with roguelike structures feels like a match made in heaven." By embedding procedural elements, persistent upgrades, and a permanent sense of progression, the game encourages players to return again and again, each run feeling fresh while still rewarding long‑term investment. Webster acknowledges that launching a new IP in a crowded calendar is a gamble, especially with heavyweight releases like GTA 6 slated for November 19.
Galactic Racer is scheduled for October 6, placing it between blockbuster launches such as Control: Resonance and Silent Hill: Townfall (both September 24) and the much‑anticipated GTA 6. Yet he points out that busy release windows are nothing new; the industry has long referred to September as “murderers’ row,” and October has historically been packed with major titles. Fuse Games approaches the market with “a healthy sense of confidence,” tempered by a realistic outlook on how the title might perform.
When asked about the wave of layoffs sweeping the industry, Webster reflects on his own long tenure. He remembers a similar contraction fifteen years ago and emphasizes a timeless truth: great teams produce great games, and great games find their audience.
He sees the current risk‑averse climate as both a challenge and an opportunity. Studios that shy away from bold bets may miss the chance to capture emerging niches, while those willing to experiment can carve out new space.
Funding an independent studio in 2023 has not been easy. Webster recounts how peers questioned his decision to leave a secure EA position after 32 years.
He responded by leaning on core principles: assemble a talented, motivated team; crystallize a clear creative vision; build a disciplined plan (while accepting that plans are always imperfect); and continuously review, adapt, and stay true to those values. By fostering an engaged workforce, Fuse hopes to punch above its weight.
Fuse’s core team is intentionally small—about 75 people—because the studio wants to avoid the boom‑and‑bust staffing cycles that plague many AAA projects. Instead, it relies on a network of external partners to fill skill gaps. This hybrid model blends transactional outsourcing for asset creation with deeper co‑development relationships where outside studios attend daily stand‑ups, join Slack channels, and contribute directly to the codebase. Webster highlights the United Kingdom as an especially fertile ground for such collaboration, noting the maturity of its game‑development ecosystem and the willingness of companies to work across multiple projects rather than guarding their talent.
According to Webster, this approach demonstrates that a AAA‑scale game—by scope, visual fidelity, and ambition—can be built on a sustainable budget when a lean core team is supplemented by trusted external collaborators. The rapid development timeline of Galactic Racer showcases the model’s viability: Fuse was founded in January 2023, and within three and a half years the studio had assembled its team, learned Unreal Engine 5 from scratch, and delivered a polished, market‑ready product.
The studio’s staffing strategy also emphasizes youth and fresh perspectives. Alongside veteran Criterion alumni, Fuse has hired many younger developers, even bringing on a producer with no prior gaming experience. Webster praises this influx of new talent, stating that they often outperform older colleagues in creativity and efficiency. He believes that nurturing junior staff not only accelerates innovation but also creates a more dynamic, motivated workplace.
In the future, Fuse hopes to formalize an internship program, though the company remains pre‑revenue and must first achieve financial stability. Reflecting on a period when the industry was flush with capital, Webster recalls how many successful developers received funding to start their own studios, only to discover the reality was far tougher than expected. He criticizes the lingering myth of the “single creative visionary” as a harmful narrative that overlooks the collaborative nature of game development.
"Games are made by collaborations of individuals," he asserts, dismissing the notion that a lone genius can carry a project alone. Looking ahead, Fuse Games remains flexible about its next steps. While the launch of Galactic Racer marks a major milestone, Webster hints that the studio is already exploring future opportunities and ideas.
As an independent developer, adaptability is essential, and Fuse plans to continue leveraging its hybrid development model, its mix of seasoned veterans and emerging talent, and its willingness to take calculated risks in order to deliver experiences that stand out in an increasingly crowded market.