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 developing iconic franchises such as Burnout and Need for Speed while at 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 leave the corporate giant and launch an independent studio in the United Kingdom called Fuse Games. Three and a half years later the fledgling company 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, and it does so at a moment when traditional racing games have lost some of their mainstream appeal. Amazon recently cancelled 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 have room for another racer. Meanwhile, Criterion itself has shifted focus from pure racing experiences to the Battlefield franchise. Despite these signals, Webster remains convinced that a demand exists.
“We clearly see an audience for a Star Wars racing game,” he told GamesIndustry.biz. “Our community feedback, video views and article reads suggest we’re not the only ones who think so.” Webster argues that video‑game genres are cyclical. After a period dominated by shooters, other styles inevitably re‑emerge as player tastes diversify.
“The more people who play games, the larger even the tiniest niche becomes,” he explained. He believes gamers are hungry for "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 classic arcade racers while also asking, "What could we do if we weren’t limited by tyres and tarmac?" The answer includes tracks that wind up the side of an active volcano, courses that feel like roller‑coasters, and other over‑the‑top environments that would be impossible in a realistic simulation.
Beyond the arcade thrills, Galactic Racer seeks to upend long‑standing racing conventions. Most racing games rely on a static car‑collection model that has changed little for two decades. Webster wants to "rip that up" 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 failure, but Fuse wants crashes to matter. When a player crashes too often they are sent back to the start, yet they retain a degree of meta‑progression that places them 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, which are built around infinite replayability.
"Racing thrives on replayability," Webster said, "so combining it with roguelike principles feels like a match made in heaven." The game’s design also encourages players to weigh each decision, especially when they are on their last allowed crash. The tension of knowing that a single mistake could reset progress adds a layer of strategic depth rarely seen in the genre. This approach marks a bold departure from the hand‑holding that has become common in AAA titles, a shift Webster believes is necessary to stand out in a crowded market.
Timing the release is another strategic consideration. Galactic Racer is slated for launch on October 6, well before the highly anticipated GTA 6 release on November 19, but after other major titles such as Control: Resonance and Silent Hill: Townfall, which both dropped on September 24. Some industry observers warned that September would be too busy, but Webster recalled that even in the past, October was traditionally packed with releases—what used to be called “Murderers’ Row.” He acknowledges the competition but maintains that Fuse Games possesses a "healthy sense of confidence" tempered by a realistic outlook: "Good games will find a way," he said, echoing a mantra he’s heard throughout his long career. Webster’s perspective on risk is shaped by his experience of past industry layoffs.
He remembers a wave of cuts fifteen years ago and notes that strong teams produce great games, which in turn attract audiences. He sees the current climate of risk aversion as an opening for studios willing to take calculated bets. However, he also admits that founding an independent studio in 2023 was far from easy. Securing funding was a major hurdle; many people questioned why anyone would start a new studio after three decades at EA.
Webster responded by leaning on principles he’d learned over his career: build a talented team, refine a clear creative vision, maintain disciplined planning (while accepting that plans will inevitably evolve), and keep the team motivated. Fuse Games is relatively small for a project of AAA scope, with roughly 75 core staff members. This size is intentional. Rather than expanding and contracting the internal team—a pattern Webster describes as the "grow, shrink, grow, shrink" cycle—Fuse relies heavily on external development partners.
These partners range from pure outsourcing arrangements, where assets are delivered transactionally, to deep co‑development relationships where external studios attend daily stand‑ups, participate in Slack channels, and contribute directly to the code base. Webster highlights the UK’s mature development ecosystem as a key advantage, noting that today many studios are eager to collaborate on diverse projects rather than clinging to a single proprietary title.
According to Webster, this hybrid model enables a studio to deliver a AAA‑level experience on a sustainable budget. The rapid development timeline—starting Fuse in January 2023 and delivering a finished game in just three and a half years—demonstrates the viability of this approach. The team built the game on Unreal Engine 5 despite none of them having prior experience with the engine, a testament to their adaptability and the support of their external partners.
Another striking element of Fuse’s story is the infusion of youthful talent. While the studio includes veterans from Criterion, many of its developers are newcomers, and one producer had never worked in games before joining the project. Webster praises this fresh perspective, stating that younger staff often bring smarter, more effective problem‑solving abilities than he possessed at the same age.
He observes that seasoned developers sometimes prefer senior colleagues who require minimal interaction, a dynamic that can stifle mentorship. By focusing on nurturing young talent, Fuse has discovered a competitive edge and is even considering launching an intern program in the future, though the studio remains pre‑revenue at present.
Reflecting on a period a few years ago when the industry was flush with cash, Webster recalls how many successful developers were handed funding to start their own studios, only to find the reality far tougher than anticipated. He argues that money should have been allocated to strong teams rather than to a handful of “superstar” creators.
He dismisses the notion of the lone visionary as "bullshit," emphasizing that games are collaborative endeavors. Looking ahead, Webster admits that Fuse’s next steps are still taking shape.
The launch of Galactic Racer is just the beginning, and the studio remains open to exploring new opportunities and partnerships. Flexibility and adaptability, he says, are essential for independent developers navigating today’s volatile market.
In summary, Matt Webster believes that as the gaming audience broadens, even the most niche concepts—like a Star Wars arcade racer—can find a substantial following. By combining classic arcade excitement with innovative roguelike mechanics, embracing a lean core team supplemented by trusted external partners, and championing young talent, Fuse Games aims to prove that a sustainable, high‑quality AAA experience is possible outside the traditional big‑studio model.