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 at Criterion, the studio behind Burnout and Need for‑Speed that 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 break away and launch their own independent UK studio, Fuse Games.

Three and a half years later the fledgling studio is on the brink of releasing 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 time when the racing genre has lost much of its mainstream appeal. Amazon recently walked away from a publishing agreement with Maverick Games for its upcoming driving title Clutch, with Amazon Games head Jeff Gattis stating, “we didn’t see a real fit in the market for that game.” Meanwhile Criterion itself has shifted focus away from racing and now works on the Battlefield franchise. Despite these signals, Webster is convinced there is still a viable market 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 the reaction we get from people watching our videos and reading our articles suggests we’re not alone.” He argues that video‑game genres tend to be cyclical.

“We went through a phase where shooters dominated, but that’s not the only genre. As more people play games, even the tiniest niches can find a larger audience.” Webster believes players 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 feel of classic arcade racers while also asking, “what can we do when we’re not limited by tyres and tarmac?” The answer, he says, is tracks that climb 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 sim. Beyond the arcade thrills, Galactic Racer aims to upend long‑standing conventions of the racing genre. Traditionally, racing games have revolved around car collection—a formula that has barely changed in 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 most modern racers, a rewind button erases any penalty, but Fuse wants crashes to matter.

“If you crash too often, you’re sent back to the start,” he explains, “though you keep some meta‑progression that makes you a little stronger. That risk‑vs‑reward tension forces players to think about each mistake.” The design philosophy is heavily inspired by roguelikes such as Hades, Returnal and Slay the Spire—games built for infinite replayability. “Racing thrives on replayability, so marrying it with roguelike loops feels like a match made in heaven,” Webster says.

Each run in Galactic Racer is procedurally varied, and the player’s decisions shape the next attempt, encouraging a learning‑by‑failure loop that keeps the experience fresh. Releasing a new IP in a crowded calendar is a bold move, especially with Rockstar’s GTA 6 slated for November 19. Galactic Racer’s launch is set for October 6, giving it a comfortable window after September’s heavy hitters like Control: Resonance and Silent Hill: Townfall (released September 24) but before the holiday rush.

Webster acknowledges the competition but points out that crowded release windows are nothing new. “People used to call October ‘Murderer’s Row,’ and it was always packed.

We have a healthy confidence tempered by a realistic view of how things might turn out.” The interview also touches on the broader industry climate, particularly the wave of layoffs that has swept through major studios. Webster, who has witnessed a similar contraction fifteen years ago, believes great teams produce great games, and great games find audiences.

He warns that an industry-wide aversion to risk can stifle innovation, but also creates opportunities for studios willing to take calculated bets. Funding an independent studio in 2023 has not been easy. “People told me I was brave to start an indie studio now,” Webster recalls.

After 32 years at EA, he had to adjust to a new reality where resources are scarce and every dollar counts. He emphasizes a set of core principles: build a strong, motivated team; refine a clear creative vision; maintain discipline in planning while accepting that plans will evolve; and stay true to your values. Engaged talent, he says, is the engine that drives great games. Fuse Games operates with a relatively small core team—about 75 people—for a project of AAA scope.

This size is intentional; the studio wants to avoid the “grow‑shrink‑grow‑shrink” cycle that plagues many large developers. Instead, Fuse leverages external partners for both transactional asset creation and deeper co‑development. In the latter case, outside studios participate in daily stand‑ups, Slack channels, and even share codebases, effectively becoming extensions of the Fuse team.

The UK’s mature game‑development ecosystem makes it an ideal hub for this collaborative model. In the past, studios were reluctant to help each other, often working “through gritted teeth.” Today, many companies hire developers who are eager to move between projects and teams, keeping the talent pool fresh and motivated. Webster believes this model can produce AAA‑level games on a more sustainable budget, and the rapid development of Galactic Racer—built on Unreal Engine 5, a tool none of the team initially mastered—demonstrates the viability of the approach.

Another notable aspect of Fuse’s strategy is its emphasis on youth. Alongside the Criterion veterans, the studio has recruited many younger developers, even hiring a producer with no prior game‑industry experience. “Our young talent 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 little guidance, but that environment can hinder the growth of fresh voices. By nurturing younger staff, Fuse hopes to create a more dynamic, innovative culture.

Webster envisions an intern program in the future, though he admits the studio is still pre‑revenue. He points to Criterion’s successful internship pipelines as a model and stresses that developing talent comes with a cost that must be recognized upfront.

Reflecting on the era when the industry was flush with cash, Webster notes that many teams received funding simply because they had delivered a hit, only to discover that running a studio is far tougher than anticipated. He criticizes the lingering fixation on a “single creative visionary” as “fucking bullshit,” arguing that games are always collaborative endeavors. Looking ahead, Fuse Games is still defining its post‑launch roadmap. Webster says the launch of Galactic Racer is just the beginning, and the studio remains open to exploring new opportunities.

Flexibility and adaptability, he concludes, are essential for independent developers navigating today’s volatile market.