Matt Webster’s career once seemed destined to stay within the walls of Electronic Arts. He began his tenure at EA in 1990 and spent almost twenty years developing titles for Criterion, the studio behind Burnout and Need for Speed, which EA acquired in 2004. In early 2023, however, Webster, together with former Criterion colleagues Steve Uphill, Pete Lake, Andrei Shires and Alan McDairmant, decided to leave the corporate behemoth and launch an independent studio in the United Kingdom called Fuse Games.
Three and a half years later the fledgling studio is poised to release its debut title, *Star Wars: Galactic Racer*, under the banner of the newly autonomous publisher Secret Mode. The timing of *Galactic Racer* is noteworthy.
It arrives roughly 24 years after the last Star Wars‑themed racing game, 2002’s *Racer Revenge*, and it does so during a period when the racing genre has struggled to retain mainstream attention. Recent industry headlines illustrate the challenge: Amazon withdrew from a publishing agreement with Maverick Games for the upcoming title *Clutch*, with Amazon Games head Jeff Gattis remarking that the market simply didn’t have room for another racing experience.
Meanwhile, Criterion itself has shifted focus away from racing, devoting its resources to the *Battlefield* franchise. Despite these signals, Webster remains convinced that a demand exists. “We clearly believe there’s an audience for a Star Wars racing game,” he told GamesIndustry.biz.
“We’re not the only ones who think that, and the response we get from people watching our videos and reading our articles suggests we’re not alone.” He points out that gaming trends are cyclical. “We went through a phase where shooters dominated the market, but that’s just one part of the ecosystem. As more people play video games, even the tiniest niches can find a larger fan base.” Webster argues that modern players are hungry for "fun, interesting, compelling new experiences that they haven’t seen before," and he believes *Galactic Racer* delivers on that promise. The studio set out to capture the instant gratification of classic arcade racers while also exploring what becomes possible when you free yourself from the constraints of real‑world tyres and tarmac.
“We have tracks that climb the side of an active volcano,” he explains. “Sometimes it feels more like a roller‑coaster than a conventional circuit.” Beyond the high‑octane thrills, Fuse is deliberately subverting long‑standing racing conventions. Traditionally, racing games have been built around a car‑collection model that has changed little for two decades.
Webster wants to tear that formula apart and borrow mechanics from other genres. The result is a game where player choices carry weight, especially when it comes to crashing. In many modern racers, a rewind button eliminates any real penalty for mistakes. Fuse, however, re‑introduces consequence: “If you crash too many times you’re sent back to the start, but you retain some meta‑progression that puts you in a stronger position the next run.” This risk‑reward loop forces players to weigh each maneuver carefully, especially when they are on their final allowed crash.
The design philosophy draws heavily from roguelike titles such as *Hades*, *Returnal* and *Slay the Spire*, games celebrated for their infinite replayability. “Racing thrives on replayability,” Webster notes, “so marrying it with roguelike principles feels like a match made in heaven.” Each run in *Galactic Racer* is meant to feel fresh, with procedural elements and a persistent progression system that rewards perseverance without guaranteeing success. Releasing the game on October 6 places it in a crowded autumn window, sandwiched between heavyweight launches like *Control: Resonance* and *Silent Hill: Townfall* (both September 24) and the highly anticipated *GTA 6* slated for November 19. Webster acknowledges the competitive landscape but remains unfazed.
“September has always looked busy to some, but I remember the ‘murderers’ row’ in the 1990s when October was jam‑packed. The market is tough, but we have a healthy confidence tempered by a realistic view of how things might unfold.” The conversation inevitably turns to the wave of layoffs sweeping the industry.
Webster, a veteran who has witnessed a previous bout of cuts fifteen years ago, sees a pattern: great teams create great games, and great games find an audience. He warns that an industry-wide aversion to risk can stifle innovation, yet he also believes that risk‑taking opens doors for studios willing to make calculated bets.
Funding an independent studio in 2023 has not been straightforward. “People told me I was brave for starting an indie studio now,” Webster recalls. After three decades at EA, stepping into a venture with limited capital was a steep learning curve. He emphasizes a set of guiding principles: assemble a talented team, hone a clear creative vision, craft a disciplined yet flexible plan, and stay true to core values.
“A motivated, engaged team can achieve amazing things; it’s the studio’s job to nurture that talent.” Fuse Games operates with a relatively lean core—about 75 people—by design. Rather than expanding and contracting the internal staff, the studio leans on external partners to fill skill gaps.
This hybrid model blends transactional outsourcing (pure asset creation) with 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 development ecosystem as a fertile ground for such collaborations, noting that today’s studios are eager to work across multiple projects, keeping their talent fresh and motivated.
Webster believes this approach demonstrates that a AAA‑scale title, in terms of scope, visual fidelity and ambition, can be delivered on a sustainable budget when a small permanent team is supplemented by trusted external partners. The rapid development timeline of *Galactic Racer*—conceived in January 2023 and ready for launch in just over three years—serves as proof of concept.
“We built a studio, assembled a team, learned Unreal Engine 5 from scratch, and delivered a full‑blown game. It feels like an achievement, and we did it in a healthy, sustainable way.” A notable aspect of Fuse’s culture is its emphasis on young talent. Alongside the Criterion veterans, many of the developers on *Galactic Racer* are newcomers to the industry; one producer had never worked in games before joining the project. Webster praises this fresh perspective: “Our younger developers are often smarter and more effective than I was at their age.
We’ve seen greater success with them than with some senior hires.” He argues that seasoned veterans sometimes prefer to work with equally senior colleagues, limiting opportunities for mentorship and growth. By deliberately fostering an environment where junior staff can thrive, Fuse hopes to eventually launch an intern program, though the studio remains pre‑revenue and cautious about the costs involved. Reflecting on the era when the industry was flush with capital, Webster recalls how many successful studios were founded by “superstar” developers who received generous funding after a hit title. He contends that money would have been better allocated to strong, cohesive teams rather than individual visionary figures.
“The fixation on a single creative visionary is nonsense. Games are collaborative creations.” Looking ahead, Fuse Games does not have a fixed roadmap. The launch of *Star Wars: Galactic Racer* is just the first step, and the studio remains open to new opportunities and ideas.
“We have concepts for what we want to do next, but as an independent developer you have to stay flexible and adaptable,” Webster concludes. The upcoming release will test whether their hybrid development model, risk‑embracing design philosophy, and focus on nurturing young talent can carve out a lasting place in a crowded market.