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 collaborating with Criterion, the studio behind Burnout and Need for Speed, which EA acquired in 2004. In early 2023, however, Webster and several former Criterion colleagues—Steve Uphill, Pete Lake, Andrei Shires, and Alan McDairmant—decided to strike out on their own, founding the independent UK studio Fuse Games. Fast‑forward three and a half years, and Fuse is poised to launch 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, at a time when the racing genre has generally lost some of its mainstream shine. Amazon recently walked away from a publishing agreement with Maverick Games for the upcoming driving title Clutch, with Amazon Games head Jeff Gattis noting that the market didn’t appear to support the project. Meanwhile, Criterion itself has shifted focus away from racing toward the Battlefield franchise. Despite these signals, Webster remains convinced that a demand exists for a Star Wars racing experience.
“We clearly see an audience for a Star Wars racing game,” he told GamesIndustry.biz. “Our community feedback, video views, and article reads suggest we’re not alone in that belief.” He points out that gaming genres are cyclical.
After a period dominated by shooters, other styles inevitably resurface. As more people play video games, even the tiniest niches can gather sizable followings. Webster believes players are hungry for "fun, interesting, compelling new experiences that they haven’t seen before," and he feels Galactic Racer delivers exactly that.
Fuse set out to capture the instant‑gratification feel of classic arcade racers while also exploring what can be done when you’re no longer bound by realistic tyres and tarmac. "We have tracks that climb the side of an active volcano," he explains, describing moments that feel more like roller‑coaster rides than conventional circuits.
Beyond the arcade thrills, the game deliberately subverts long‑standing racing conventions. Traditionally, racing games have revolved around collecting cars—a formula that hasn’t changed much in two decades. Webster wants to tear that model apart and borrow mechanics from other genres. One of the most striking innovations is the emphasis on consequential decision‑making, especially when it comes to crashing.
In many modern racers, a rewind button eliminates any real penalty for mistakes. Fuse re‑introduces risk: crashing repeatedly can send you back to the start, though you retain a portion of meta‑progression that puts you in a stronger position the next run. This creates tension; when you’re on your final allowed crash, you feel the weight of each risk you take.
The design philosophy draws heavily from roguelike principles seen in titles such as Hades, Returnal, and Slay the Spire—games built for infinite replayability. "Racing thrives on replayability," Webster notes, "so pairing it with roguelike loops feels like a perfect match." By incorporating permanent upgrades, branching pathways, and a risk‑reward system, Galactic Racer aims to keep players coming back for fresh runs, each with slightly different challenges and rewards.
Launching in a crowded calendar, Galactic Racer will hit shelves on October 6, sandwiched between major 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 the industry has always endured busy windows.
He recalls the “Murderer’s Row” era of September releases and says Fuse approaches the market with a “healthy sense of confidence” tempered by realistic expectations. "Good games will find a way," he says, echoing a mantra that has guided him through industry ups and downs. Speaking about recent waves of layoffs, Webster reflects on his long tenure in the business. He remembers a previous wave of cuts about fifteen years ago and notes a pattern: great teams produce great games, and great games attract audiences.
He argues that the current risk‑averse climate creates space for studios willing to take calculated bets. "If you shy away from risk, you limit opportunity," he warns, emphasizing that bold ideas can thrive when the right people are willing to back them. Funding an independent studio in 2023 proved challenging.
After three decades at EA, Webster found himself stepping out of a comfortable bubble into a landscape where investors were skeptical of new, small‑scale ventures. He stresses the importance of building a solid team, refining a clear creative vision, and maintaining disciplined planning—even when plans inevitably evolve. Engaged, motivated talent, he believes, is the engine that turns vision into reality. Fuse’s core team remains modest—around 75 people—by design.
Rather than following the industry’s typical pattern of rapid expansion and contraction, the studio relies heavily on external development partners to fill skill gaps. This hybrid model blends transactional outsourcing for asset creation with deeper co‑development relationships where external studios attend daily stand‑ups, participate in Slack channels, and share codebases.
Webster highlights the UK’s mature development ecosystem as a fertile ground for such collaborations, noting a cultural shift from reluctant, grudging assistance to enthusiastic, value‑aligned partnerships. The result, according to Webster, is a sustainable approach to producing AAA‑level scope, scale, and visual fidelity without the ballooning budgets that traditionally accompany such projects. The rapid development timeline—starting Fuse in January 2023 and delivering a full UE5‑powered game in just three and a half years—demonstrates the viability of this model. Another noteworthy aspect is Fuse’s infusion of young talent.
While the studio benefits from veteran Criterion alumni, many of its developers are newcomers to the industry, including a producer with no prior gaming experience. "Our young team is smarter and more effective in many ways than I was at that age," Webster says, expressing pride in the fresh perspectives they bring.
He observes that seasoned developers often prefer working with senior peers who require minimal guidance, a dynamic that can stifle growth. By nurturing junior staff, Fuse aims to create a culture of mutual motivation and learning. Looking ahead, Webster hopes to formalize an internship program, drawing inspiration from Criterion’s successful initiatives. He acknowledges that Fuse is still pre‑revenue, but believes that investing in talent development will pay dividends in the long run, even if it comes with upfront costs.
Reflecting on a time when the industry was flush with cash, Webster recalls how many successful teams received funding to spin off their own studios, only to discover the harsh reality of building a business from scratch. He criticizes the lingering obsession with the “singular creative visionary” myth, calling it "bullshit" and emphasizing that games are fundamentally collaborative endeavors.
As for what lies beyond Galactic Racer, Webster admits the future is still being charted. The launch is just the beginning, and Fuse remains open to new opportunities and ideas. He stresses that independent developers must stay flexible and adaptable in a rapidly changing market, ready to pivot when the right chance arises.