Matt Webster’s career once seemed destined to stay within the walls of Electronic Arts. He arrived at the company in 1990 and spent almost twenty years contributing to the Burnout and Need for Speed franchises while they were under the Criterion banner, 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 strike out on their own and launch the independent UK studio Fuse Games. Just over three 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 in a market where traditional racing games have struggled to maintain mainstream appeal. Amazon recently walked away from a publishing agreement with Maverick Games for the upcoming title *Clutch*, with Amazon Games head Jeff Gattis commenting that the project didn’t fit the current market landscape. Meanwhile, Criterion itself has pivoted away from pure racing experiences to focus on 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 – from video views to article reads – suggests we’re not the only ones who think so.” He points out that gaming genres tend to be cyclical.
After a period dominated by shooters, other types of games inevitably resurface. As more people worldwide pick up video games, even the most niche interests can find a sizable fan base. Webster believes players are hungry for “fun, interesting, compelling new experiences they haven’t seen before,” and he feels *Galactic Racer* delivers on that promise. The studio’s vision is to craft something fresh, marrying the instant gratification of arcade‑style racing with imaginative, physics‑defying track design.
“We wanted to explore what’s possible when you’re not limited by tyres and tarmac,” he explains. “One of our courses actually climbs the side of an active volcano – it’s like a roller‑coaster on steroids.” Beyond the adrenaline‑pumping thrills, *Galactic Racer* aims to upend long‑standing conventions of the racing genre.
Traditionally, racing games revolve around collecting cars, a formula that hasn’t changed much in two decades. Webster wants to tear that apart and borrow mechanics from other genres. The game introduces meaningful consequences for player actions, especially crashes.
While many modern racers offer a rewind feature that erases mistakes, *Galactic Racer* reinstates the weight of failure. A crash can send you back to the start, though you retain some meta‑progression that puts you in a stronger position the next run.
This risk‑reward loop forces players to weigh their decisions carefully, especially when they’re on their final allowed crash. The design philosophy draws heavily from roguelike titles such as *Hades*, *Returnal* and *Slay the Spire*, which emphasize infinite replayability.
“Racing thrives on replayability,” Webster notes, “so combining it with roguelike structures feels like a perfect match.” Each run is different, encouraging players to experiment with routes, upgrades, and strategies, while the persistent progression system ensures that repeated attempts feel rewarding rather than punitive. Launching on October 6, *Galactic Racer* lands in a crowded autumn window that includes 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 competition but reminds us that busy release calendars are nothing new. “People used to call October ‘Murderer’s Row’ because it was packed with titles,” he says. “We have a healthy confidence tempered by a realistic view of how things might turn out.” The interview also touches on broader industry trends, particularly the wave of layoffs and a growing aversion to risk. Webster, who has witnessed several cycles of downsizing, argues that great teams make great games, and great games find their audience.
He sees the current risk‑averse climate as an opening for studios willing to take calculated bets. “If you’re not willing to push boundaries, you’ll miss opportunities,” he asserts. Funding an independent studio in 2023 proved challenging. After three decades at EA, Webster found himself navigating a new reality where investors were skeptical of small, self‑funded teams.
He stresses the importance of building a solid core team, refining a clear creative vision, and maintaining disciplined planning—while staying flexible enough to adapt when the plan inevitably changes. “Engaged and motivated talent is the engine of great games,” he says.
Fuse Games deliberately keeps its internal staff lean—about 75 people—for a project of AAA scope. Rather than expanding and contracting staff in waves, the studio relies on external partners to fill skill gaps.
This hybrid model blends transactional outsourcing for asset creation with deeper co‑development relationships where external studios join daily stand‑ups, Slack channels, and even 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 on diverse projects rather than being locked into a single title. Webster believes this approach can deliver AAA‑level quality on a sustainable budget.
The rapid development timeline—just three and a half years from Fuse’s founding to a near‑complete UE5‑powered game—demonstrates the viability of the model. “We built a studio, a team, and a game on technology none of us previously mastered,” he says, “and we did it in a healthy, sustainable way.” A notable aspect of Fuse’s strategy is its emphasis on youthful talent. Alongside the Criterion veterans, the studio has recruited many younger developers, even hiring a producer with no prior gaming experience.
Webster praises this fresh perspective: “Our younger staff are often smarter and more effective than we were at their age. They bring energy and new ideas that have propelled us further than some senior hires ever did.” He observes that seasoned developers sometimes prefer working with peers who need minimal guidance, which can stifle mentorship. By focusing on nurturing junior talent, Fuse hopes to create a virtuous cycle of growth and innovation.
Looking ahead, Webster envisions an intern program to further cultivate emerging talent, though he admits the studio is still pre‑revenue and must be cautious with resources. He reflects on a period five or six years ago when the industry was flush with capital, and many successful developers used that money to launch their own studios—often underestimating the challenges.
“Funding should go to great teams, not just superstar creators,” he argues, dismissing the myth of the lone visionary as “bullshit.” In his view, games are always collaborative endeavors. As for Fuse’s next steps, Webster remains non‑committal. The launch of *Star Wars: Galactic Racer* is just the beginning, and the studio is open to exploring new opportunities while staying adaptable. “Independent developers need to be flexible,” he concludes.
“We have ideas for the future, but we’ll let the market and our own evolution guide us."