Matt Webster’s career once seemed destined to stay within Electronic Arts. He started at EA in 1990 and spent nearly twenty years developing titles for Criterion, the studio behind Burnout and Need for Speed, which EA acquired in 2004.
In early 2023, however, Webster joined forces with former Criterion colleagues Steve Uphill, Pete Lake, Andrei Shires and Alan McDairmant to launch an independent UK studio called Fuse Games. Just over three years later, Fuse 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‑themed racing game—2002’s Racer Revenge—at a moment when racing games have generally lost some of their 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 remarking that the market didn’t seem to fit the project.
Meanwhile, Criterion, once a racing powerhouse, has shifted its focus to the Battlefield franchise. Despite these signals, Webster remains convinced there is a viable audience for a Star Wars racing experience. “We clearly see an appetite for a Star Wars‑based racer,” Webster told GamesIndustry.biz.
“We’re not the only ones thinking that, and the response we get from our videos and articles suggests we’re not alone.” He points out that entertainment genres tend to be cyclical. While shooters dominated the market for a while, other genres inevitably resurface. “The more people play video games, the more even the tiniest niches can find a sizable audience,” he added. According to Webster, gamers are hungry for fresh, compelling experiences they haven’t encountered before, and he believes Galactic Racer delivers exactly that.
The team set out to capture the instant‑gratification feel of classic arcade racers while also exploring what can be done when a game is no longer limited by realistic tyres and tarmac. “We have tracks that climb the side of an active volcano,” he explains. “Sometimes it feels like a roller‑coaster.” Beyond the high‑octane thrills, Galactic Racer aims to upend long‑standing racing conventions.
Most racing games have relied on a car‑collection model for the past two decades. Webster wants to discard that formula and borrow mechanics from other genres.
One key innovation is the introduction of meaningful consequences for crashing. In many modern racers, a rewind feature eliminates any penalty, but Fuse wants to bring risk back into play. “If you crash too often you’re sent back to the start, but you retain some meta‑progression that puts you in a stronger position,” he says. “When you’re on your last allowed crash, you really feel the weight of that decision.” The game’s structure draws inspiration from roguelike titles such as Hades, Returnal and Slay the Spire—games built for infinite replayability.
Webster argues that racing, by nature, thrives on repeated play, making the marriage of roguelike loops and high‑speed competition a “match made in heaven.” This design choice also aligns with the studio’s desire to move away from the hand‑holding typical of many AAA releases, offering players a more daring, skill‑based experience. Timing the launch is another strategic consideration. Galactic Racer is slated for October 6, positioning it well ahead of Rockstar’s highly anticipated GTA 6, which is due on November 19, yet after other major releases such as Control: Resonance and Silent Hill: Townfall on September 24. Webster acknowledges the crowded pre‑holiday window but notes that the industry has faced even busier schedules before.
“People used to call September ‘murderers’ row,’ and October was packed too. We have a healthy confidence tempered by a realistic view of how the market might respond,” he said. The interview also touches on broader industry trends, particularly the wave of layoffs and a prevailing aversion to risk.
Webster, who has witnessed a similar layoff cycle fifteen years ago, believes that great teams produce great games, and great games eventually find their audience. He argues that risk‑averse environments can actually create opportunities for studios willing to take calculated bets. “If you’re not willing to risk, you limit your chances of success,” he warned.
Starting a new studio in 2023 has not been without challenges. Securing funding proved difficult, with many questioning the wisdom of launching an independent studio in a turbulent market. Webster reflects on his 32‑year tenure at EA, describing the shift as moving from a comfortable bubble to an uncertain reality.
He emphasizes core principles: building a strong team, refining a clear creative vision, and maintaining disciplined planning—while accepting that plans are always provisional and must be adapted. Fuse Games operates with a relatively small core team of about 75 people, a deliberate choice to avoid the typical “grow‑shrink‑grow‑shrink” cycle seen in many larger studios.
Instead, the studio leverages external development partners to fill capability gaps. This hybrid model ranges from transactional outsourcing for asset creation to deep co‑development where external studios participate fully in daily stand‑ups, Slack channels, and code repositories. Webster highlights the UK’s mature game development ecosystem as particularly conducive to such collaborations, noting that today many companies are eager to work on diverse projects with different teams, keeping their talent motivated and fresh. Webster believes this approach demonstrates that a AAA‑scale game—by scope, visual fidelity, and ambition—can be delivered on a sustainable budget when a lean core team is complemented by trusted partners who share the same values.
The rapid development timeline of Galactic Racer underscores this point: 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—a technology none of them had previously mastered. Another notable aspect of Fuse’s strategy is its emphasis on nurturing young talent. Alongside the veteran Criterion alumni, the studio has recruited many early‑career developers, even hiring a producer with no prior gaming experience. Webster praises this youthful energy, claiming that the younger staff often outperform more senior hires in creativity and efficiency.
He observes that seasoned developers sometimes prefer to work with peers who require minimal mentorship, which can stifle growth. By actively seeking and developing fresh talent, Fuse hopes to create a virtuous cycle of innovation and motivation. Looking ahead, Webster envisions establishing an internship program to further cultivate emerging talent, though he admits the studio is still pre‑revenue and must tread carefully. He references Criterion’s successful intern initiatives as a model, acknowledging that developing talent carries costs but can yield long‑term benefits.
Reflecting on a period five or six years ago when the industry was flush with capital, Webster recalls how many developers received funding to start their own studios after a hit game, only to discover how difficult it truly is to succeed independently. He criticizes the industry’s past fixation on the “singular creative visionary”—a notion he calls “fucking bullshit.” In his view, games are always the product of collaborative effort, not the vision of a lone genius. As for Fuse’s future beyond Galactic Racer, Webster says the studio remains flexible and open‑minded. The launch is just the first step, and while they have ideas for subsequent projects, they understand that independent developers must stay adaptable to shifting market conditions.
The overarching message is one of cautious optimism: with the right team, a clear vision, and a willingness to take measured risks, even a niche concept like a Star Wars arcade racer can find its place in today’s crowded gaming landscape.