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 contributing to the Burnout and Need for Speed franchises through Criterion, the studio EA acquired in 2004. In early 2023, however, Webster, together with fellow Criterion alumni Steve Uphill, Pete Lake, Andrei Shires, and Alan McDairmant, decided to strike out on their own, founding the independent UK studio Fuse Games. Just over three years later, the fledgling company is preparing to launch 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—and it does so at a moment when the racing genre has generally lost steam. Amazon recently walked away from a publishing agreement with Maverick Games for the upcoming driving title Clutch, with Amazon Games head Jeff Gattis noting that the market didn’t seem to have room for another racer.
Criterion, once a powerhouse of arcade‑style racing, has pivoted toward the Battlefield franchise, underscoring the perception that pure‑racing projects are a dwindling commodity. Despite these signals, Webster is convinced there is still a hungry audience for a Star Wars racing experience. “We clearly think there’s a market for a Star Wars racing game,” he told GamesIndustry.biz.
“Our community—people watching our videos, reading our articles—suggests we’re not alone in that belief.” He points out that genres tend to be cyclical. After a period dominated by shooters, other types of games inevitably re‑emerge. As the global player base expands, even the most niche interests can attract a sizable following.
Webster believes gamers are craving "fun, interesting, compelling new experiences they haven’t seen before," and he feels Galactic Racer delivers exactly that. The team set out to capture the instant gratification of classic arcade racers while also exploring what becomes possible when you detach from the constraints of realistic tyres and tarmac.
"Imagine tracks that climb the side of an active volcano or loop around a floating citadel," he explains. "It’s a roller‑coaster at times, but with a Star Wars twist." Beyond the high‑octane thrills, Galactic Racer intentionally subverts several long‑standing conventions of the genre.
Traditionally, racing games revolve around collecting cars, a formula that has remained largely unchanged for two decades. Webster wants to rip that model apart and borrow mechanics from other genres. One major innovation is the introduction of meaningful consequences for crashing. In many modern racers, a rewind button erases the penalty for a mistake, but Fuse wants to re‑introduce risk.
"If you crash too often you’re sent back to the start, but you retain some meta‑progression that makes you slightly stronger," he says. "When you’re on your last allowed crash, you feel the tension and have to weigh the risk of pushing harder." The game’s structure draws inspiration from roguelike titles such as Hades, Returnal, and Slay the Spire—games designed for infinite replayability. Racing, by its nature, thrives on repeated attempts to shave off milliseconds, making the marriage of roguelike persistence and high‑speed competition a "match made in heaven," according to Webster. This design philosophy encourages players to experiment, learn from failures, and return with a slightly altered starting point, fostering a loop that feels fresh each time.
Launching the game on October 6 places it in a crowded autumn window, sandwiched between blockbuster releases like Control: Resonance, Silent Hill: Townfall (both September 24), and the highly anticipated GTA 6 slated for November 19. Yet Webster isn’t daunted. He recalls past years when September felt “busy” but October was still a viable launch period, referencing the infamous “Murderer’s Row” of releases from earlier decades. The studio approaches the market with a “healthy sense of confidence” tempered by a realistic appraisal of potential outcomes.
"Good games find a way," he says, echoing a mantra that has guided him through industry turbulence. Speaking on the wave of layoffs sweeping the sector, Webster reflects on his long tenure and the previous round of cuts fifteen years ago. He observes that great teams produce great games, and great games attract audiences.
However, he also notes a prevailing aversion to risk among publishers, which can stifle innovation. "When you’re unwilling to take calculated bets, you limit opportunity for everyone," he warns. Funding an independent studio in 2023 has been far from easy.
Many questioned the wisdom of launching a new studio after a 32‑year stint at EA. Webster’s answer was to lean on core principles: assemble a talented team, refine a clear creative vision, and maintain disciplined planning—always knowing the plan will evolve.
He emphasizes the importance of engaging and motivating talent, especially when resources are limited. Fuse Games operates with a relatively lean core team of about 75 developers, a deliberate choice to avoid the typical “grow‑shrink‑grow‑shrink” cycle seen in larger studios.
Instead, they supplement capabilities through external development partners. 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 code base.
Webster highlights the UK’s mature development ecosystem as a fertile ground for such collaborations, noting that today’s studios are more open to shared ventures than in the past. The result, he believes, is a sustainable way to produce a AAA‑scale experience without the runaway budgets that have plagued many recent projects.
The rapid timeline—starting Fuse in January 2023 and delivering a full‑featured UE5 title in just three and a half years—demonstrates the viability of this approach. A notable aspect of the project is the infusion of youthful talent.
While the studio includes veteran Criterion staff, many of its developers are newcomers, some even without prior game‑development experience. "The young talent we’ve attracted is smarter and more effective in many ways than I was at that age," Webster says. He observes that seasoned developers often prefer senior colleagues who require minimal mentorship, whereas nurturing younger staff can energize the entire team. This insight has led Fuse to pivot its hiring strategy toward fresh perspectives.
Looking ahead, Webster hopes to formalize an internship program, drawing inspiration from Criterion’s successful initiatives. He acknowledges that Fuse is still pre‑revenue, but believes investing in talent development will pay dividends in the long run.
He also critiques the industry’s historical fixation on the “single creative visionary” myth, calling it “bullshit.” In reality, games are collaborative endeavors, and success stems from the collective effort of many individuals. As for Fuse’s next steps, the studio remains flexible.
While the launch of Galactic Racer is just the beginning, Webster hints at exploring new opportunities and ideas, emphasizing that independence demands adaptability. The team’s confidence, combined with a willingness to experiment and a commitment to sustainable development, positions them to navigate the ever‑changing landscape of the gaming world.