“As gaming expands, even the smallest niches attract larger audiences” – Why Matt Webster believes Star Wars: Galactic Racer will resonate

Matt Webster’s career once seemed destined to stay within the walls of Electronic Arts. He started at the company in 1990 and spent nearly twenty years working on iconic franchises such as Burnout and Need for Speed under 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 studio is on the brink of releasing its debut title, *Star Wars: Galactic Racer*, which will be published by the newly autonomous label Secret Mode. *Galactic Racer* arrives roughly 24 years after the last Star Wars‑themed racing game, 2002’s *Racer Revenge*.

In the intervening decades the racing genre has generally lost steam. Amazon recently walked away from a publishing agreement with Maverick Games for a forthcoming driving title called *Clutch*, with Amazon Games head Jeff Gattis stating, “we didn’t see a real fit in the market for that game.” Meanwhile Criterion, once a powerhouse of arcade‑style racers, has shifted its focus to 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 way, and from the comments we see on our videos and articles it looks like many fans share that enthusiasm.” He adds that genres tend to be cyclical. “We went through a phase where shooters dominated, but that’s not the only cycle.

As more people play video games, even the tiniest niches can find a larger following.” Webster believes players are craving “fun, interesting, compelling new experiences that 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 can be done when you are no longer bound by the constraints of 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, the game deliberately subverts long‑standing racing conventions. Most racing titles rely on a car‑collection model that has changed little in two decades.

Webster wants to rip that formula apart and borrow mechanics from other genres. One such borrowing comes from roguelike‑inspired design.

*Galactic Racer* incorporates consequential decision‑making, especially around crashing. In many modern racers a rewind button erases the penalty of a mistake; Fuse chose to re‑introduce real consequences.

“If you crash too many times you’re sent back to the start, but you keep some meta‑progression that puts you in a stronger position,” he says. “When you’re on your last crash and the system is critical, you feel the risk and have to weigh your options.” The game’s structure draws inspiration from titles such as *Hades*, *Returnal* and *Slay the Spire*—games built for infinite replayability. Racing, by nature, thrives on repeated runs, so the marriage of roguelike loops with high‑speed competition creates what Webster calls “a match made in heaven.” Releasing a new IP in a crowded calendar is a bold move, especially with Rockstar’s *GTA 6* slated for November 19.

*Galactic Racer* is set for launch on October 6, a comfortable gap from the blockbuster but still close to other high‑profile releases like *Control: Resonance* and *Silent Hill: Townfall* (both September 24). Webster notes that September has historically been a busy window; he recalls older industry chatter about “Murderers’ Row” in October, proving that crowded launch windows are nothing new.

“We have a healthy confidence, tempered by a realistic view of how things may turn out,” he says. “Good games will find a way.” The conversation turns to the broader industry climate, marked by waves of layoffs. Webster, who has witnessed a similar downturn fifteen years ago, observes that great teams make great games, and great games find audiences. He argues that risk aversion is limiting opportunities, and those willing to take calculated bets can thrive.

Yet he admits that founding an independent studio in 2023 has been far from easy. Funding was scarce, and many questioned the wisdom of going solo after a 32‑year tenure at EA.

Webster’s answer was to lean on core principles: build a solid team, refine a clear creative vision, create a disciplined yet adaptable plan, and stay true to values. “Engaged and motivated talent makes great things, so it’s your job to engage and motivate the talent,” he emphasizes.

Fuse Games operates with a relatively small core—around 75 people—by design. Rather than expanding and contracting staff in the typical AAA fashion, the studio relies heavily on external development partners to fill gaps. This hybrid model blends transactional outsourcing for asset creation with deeper co‑development relationships where external studios attend daily stand‑ups, join Slack channels, and contribute directly to the codebase. Webster highlights the UK’s mature game development ecosystem as ideal for such collaboration, noting a shift from reluctant, piecemeal assistance to enthusiastic, value‑aligned partnerships.

According to Webster, this approach proves that a AAA‑scale game can be delivered on a sustainable budget when a lean core team is augmented by trusted partners. The speed of *Galactic Racer*’s development underscores the model’s efficacy: Fuse was founded in January 2023, and three and a half years later they have shipped a full‑blown title built on Unreal Engine 5—a technology none of the founders initially mastered.

“It feels like an achievement, and we’ve done it in a healthy, sustainable way,” he says. The studio’s talent mix also reflects a deliberate shift toward youth. While the founding members bring veteran experience from Criterion, many of the developers on *Galactic Racer* are younger, and at least one producer had never worked in games before joining Fuse.

“The young talent we’ve got is smarter and more effective in many ways than I was at that age,” Webster observes. He argues that nurturing junior staff is more beneficial than relying on senior hires who may prefer minimal interaction.

This philosophy has even prompted the studio to pivot its recruitment strategy toward emerging talent. Looking ahead, Webster hopes to formalize an internship program, taking cues from Criterion’s successful past initiatives. He acknowledges that Fuse is still pre‑revenue, but believes the long‑term payoff of developing home‑grown talent outweighs the short‑term cost.

Reflecting on the industry’s past excesses—when successful games generated enough cash for developers to spin off their own studios—Webster warns that funding often went to “superstar” individuals rather than strong teams. He dismisses the myth of the solitary creative visionary as “bullshit,” insisting that games are always collaborative endeavors. As for Fuse’s future beyond *Galactic Racer*, Webster admits the roadmap is still forming.

The launch is just the beginning, and the studio remains open to new opportunities and ideas. “As an independent developer you have to stay flexible and adaptable,” he concludes, underscoring the company’s commitment to evolving with the market while staying true to its core values.