Matt Webster’s career once seemed destined to stay within Electronic Arts’ walls. He began his tenure at EA in 1990 and spent nearly twenty years contributing to the iconic Burnout and Need for Speed franchises while they were under the Criterion banner—a 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 and establish the independent UK studio Fuse Games. Three and a half years later the fledgling company is on the verge of releasing its debut title, *Star Wars: Galactic Racer*, a partnership with the newly independent publisher Secret Mode.
The timing of *Galactic Racer* is noteworthy. It arrives roughly twenty‑four years after the last Star Wars‑themed racing game, 2002’s *Racer Revenge*. In the intervening years, the racing genre has lost some of its mainstream momentum.
Amazon recently walked away from a publishing arrangement with Maverick Games for its upcoming driving title *Clutch*, with Amazon Games head Jeff Gattis remarking that the market simply didn’t have a clear fit for the project. Meanwhile Criterion, once a powerhouse of arcade‑style racers, has pivoted toward the *Battlefield* franchise, signaling a broader industry shift away from pure racing experiences. Despite these trends, Webster remains convinced there is a viable audience for a Star Wars racing adventure. “We clearly believe there’s a market for a Star Wars racing game,” he told GamesIndustry.biz.
“We’re not the only ones thinking that, and the response we get from viewers and readers suggests we’re not alone.” He points out that video‑game genres are cyclical. After a period dominated by shooters, other types of games inevitably resurface, especially as the overall player base expands. “The more people play video games, the more even the tiniest niches can find a larger audience,” he explained.
Webster argues that modern gamers crave fresh, compelling experiences that feel novel. *Galactic Racer* is designed to satisfy that desire. The team set out to capture the instant‑gratification feel of classic arcade racers while also exploring what becomes possible when you free yourself from the constraints of realistic tyres and tarmac.
“We have tracks that climb the side of an active volcano,” he said, describing courses that feel more like roller‑coasters than conventional circuits. Beyond the high‑octane thrills, the game deliberately challenges long‑standing conventions of the racing genre. Traditionally, racers have relied on a car‑collection model that has remained largely unchanged for two decades.
Webster wants to dismantle 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 button nullifies mistakes, eroding any sense of risk.
*Galactic Racer* re‑introduces stakes: too many crashes send the player back to the start, though some meta‑progression carries over, placing the racer in a stronger position for subsequent attempts. This risk‑reward loop forces players to weigh each maneuver carefully, especially when they’re on their final allowable crash. The design philosophy draws heavily from roguelike titles such as *Hades*, *Returnal*, and *Slay the Spire*, which prioritize infinite replayability.
“Racing thrives on replayability, so marrying it with roguelike principles feels like a match made in heaven,” Webster noted. By embedding procedural elements, branching upgrades, and persistent progression, the game aims to keep players returning long after they’ve mastered the basics.
Launching *Galactic Racer* on October 6 places it in a crowded autumn window, sandwiched between heavyweight releases 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 confident. He recalls past years when September felt oversubscribed, yet developers still managed successful launches during what was once dubbed “murderers’ row.” “We have a healthy sense of confidence, tempered by a realistic view of how things may turn out,” he said. “Good games will find a way.” The conversation naturally turned to the industry’s recent wave of layoffs.
Having witnessed a similar contraction a decade and a half ago, Webster believes that great teams produce great games, and great games eventually find an audience. He warns that an industry-wide aversion to risk can stifle innovation, but also creates openings for studios willing to take calculated bets.
“If you’re not willing to risk, you limit opportunity,” he observed. 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 transition as stepping out of a protective bubble.
He emphasizes core principles: assembling a talented, motivated team; refining a clear creative vision; maintaining disciplined planning while accepting that plans will evolve; and staying true to the studio’s values. “Engaged talent makes great things,” he asserted, underscoring the importance of nurturing the people behind the product.
Fuse Games operates with a relatively lean core team—about 75 people—by design. Rather than inflating the staff size and later trimming it, the studio relies on external partners to fill skill gaps. This hybrid model blends outsourcing (transactional asset creation) with co‑development, where external studios become extensions of the internal team, participating in stand‑ups, Slack channels, and code repositories. Webster highlights the UK’s mature development ecosystem as particularly conducive to such collaboration, noting that today’s external partners are eager to work across diverse projects, keeping their workforce fresh and motivated.
Webster believes this approach demonstrates a sustainable path for AAA‑scale projects: a small permanent core supplemented by trusted, value‑aligned partners. The rapid development cycle of *Galactic Racer*—from Fuse’s founding in January 2023 to a launch in just over three years—serves as proof of concept. “We built a studio, a team, and a game on an engine none of us previously knew (UE5) in a healthy, sustainable way,” he said proudly.
A notable aspect of Fuse’s culture is its blend of veteran expertise and youthful energy. While several Criterion veterans are present, many younger developers have joined the effort, including a producer with no prior game‑industry experience. Webster praises this fresh talent, claiming they often surpass senior staff in effectiveness and creativity.
He observes that seasoned developers sometimes prefer working with equally senior colleagues, which can limit mentorship opportunities. By deliberately focusing on nurturing younger talent, Fuse hopes to foster a dynamic, innovative environment. Looking ahead, Webster envisions establishing an internship program to further cultivate emerging talent, though he admits the studio is still pre‑revenue and financially cautious. He cites Criterion’s successful intern initiatives as a model and acknowledges the costs associated with talent development.
Reflecting on a period five or six years ago when abundant funding allowed many successful teams to spin off their own studios, he laments that the industry has shifted away from supporting great teams toward glorifying singular “creative visionaries.” He dismisses that myth as “bullshit,” insisting that games are fundamentally collaborative endeavors. As for Fuse’s next steps, the future remains fluid. While the launch of *Star Wars: Galactic Racer* marks a major milestone, Webster hints at ongoing discussions about potential new projects and collaborations.
“For an independent developer these days, you have to stay flexible and adaptable,” he concluded, emphasizing that the studio’s journey is just beginning.