Matt Webster’s career once seemed destined to remain at Electronic Arts. He began his tenure in 1990 and spent nearly twenty years developing iconic franchises such as Burnout and Need for Speed while working at Criterion, the studio EA acquired in 2004.

However, in early 2023 Webster, together with fellow Criterion alumni Steve Uphill, Pete Lake, Andrei Shires and Alan McDairmant, decided to leave the corporate giant and launch their own independent UK studio, Fuse Games. Fast‑forward three and a half years, and the fledgling studio is poised to release its debut title, *Star Wars: Galactic Racer*, under the banner of the newly independent publisher Secret Mode.

The timing of *Galactic Racer* is noteworthy. The last Star Wars racing game, *Racer Revenge*, hit shelves in 2002 – a full twenty‑four years ago.

In the intervening decades, the racing genre has lost some of its mainstream sheen. Amazon recently walked away from a publishing agreement with Maverick Games for a new driving title called *Clutch*, with Amazon Games head Jeff Gattis explaining that the market simply didn’t appear to have room for another racer. Meanwhile, Criterion itself has shifted focus away from cars and onto the *Battlefield* franchise.

Despite these signals, Webster remains convinced that a viable audience exists for a Star Wars‑themed racing experience. “We clearly see a demand for a Star Wars racing game,” he told GamesIndustry.biz. “Our community of fans, the people who watch our videos and read our articles, suggest we’re not alone in thinking that.” He argues that gaming genres are cyclical.

“Shooters dominated for a while, but that’s not the only cycle. As more people play video games, even the tiniest niches can find a larger fan base.” 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. The studio set out to capture the instant gratification of classic arcade racers while also exploring what becomes possible when a game is no longer tethered to realistic tyres and tarmac.

“We have tracks that climb the side of an active volcano,” he explains. “It feels like a roller‑coaster at times.” Beyond the high‑octane thrills, *Galactic Racer* aims to upend long‑standing conventions of the racing genre.

Traditionally, racers revolve around car collection – a formula that has remained largely unchanged for two decades. Webster wants to tear that model apart and borrow mechanics from other genres. One of the most radical changes is the introduction of meaningful consequences for crashing.

In many modern racers, a rewind button nullifies mistakes, but Webster wants crashes to matter. “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,” he says. “When you’re on your last allowed crash, the risk feels real and you have to decide whether to push forward or play it safe.” The game’s design also draws inspiration from roguelike titles such as *Hades*, *Returnal* and *Slay the Spire*, which prioritize infinite replayability. "Racing thrives on replay value, so merging it with roguelike loops feels like a perfect match," Webster notes.

The idea is that each run feels fresh, with procedurally varied tracks, upgrades, and risk‑reward decisions that keep players coming back. Launching in a crowded calendar, *Galactic Racer* is set for release on October 6, 2026 – a comfortable gap before the highly anticipated *GTA 6* drops on November 19, yet close enough to ride the wave of other major releases such as *Control: Resonance* and *Silent Hill: Townfall* on September 24. Webster acknowledges the competitive environment but remains confident. “The market has always been busy.

I remember the ‘Murderers’ Row’ era when September was packed. We have a healthy confidence tempered by a realistic view of how things might turn out.” When asked about the wave of industry layoffs, Webster reflects on his long tenure. He recalls a similar downturn fifteen years ago and notes a pattern: great teams make great games, and great games find an audience. He argues that the current climate shows a widespread aversion to risk, which paradoxically creates opportunities for studios willing to take calculated bets.

“If you shy away from risk, you limit yourself. Those who embrace it can carve out space,” he says. Funding an independent studio in 2023 proved challenging. “People told me I was brave to start an indie studio now,” Webster recalls.

After thirty‑two years at EA, he stepped out of a comfortable bubble into a world where securing capital required perseverance. His guiding principles became building a strong team, refining a clear creative vision, and maintaining discipline while accepting that plans will always evolve.

He emphasizes that engaged, motivated talent is the engine of great games, and it is the studio’s responsibility to nurture that talent. Fuse Games operates with a relatively lean core of about 75 people – modest by AAA standards – deliberately avoiding the boom‑and‑bust staffing cycles common in larger publishers. Instead, the studio leans on external development partners to fill gaps, ranging from transactional outsourcing for asset creation to full co‑development where external studios sit in on stand‑ups, Slack channels, and even share codebases. Webster points out that the UK’s mature game development ecosystem makes it an ideal hub for such collaboration.

“In the past, external studios were reluctant to help; now they’re eager to work on diverse projects, keeping their teams fresh and excited.” Webster believes this hybrid model – a small permanent team supplemented by trusted partners – could become the blueprint for sustainable AAA‑scale development. It allows a studio to achieve the scope, scale and visual fidelity of a blockbuster while keeping budgets realistic.

The rapid development timeline of *Galactic Racer* validates the approach: Fuse was founded in January 2023, and within three and a half years they built a studio, assembled a team, learned Unreal Engine 5 from scratch, and delivered a polished title. A notable aspect of Fuse’s workforce is the infusion of young talent.

Several producers on *Galactic Racer* had never worked in games before joining the project. Webster praises the fresh perspective these newcomers bring, stating that they often outperform more seasoned hires in creativity and efficiency.

He observes that veteran developers sometimes prefer senior colleagues who require minimal interaction, which can stifle growth. By deliberately seeking out and nurturing younger staff, Fuse hopes to build a culture of mentorship and continuous learning.

An intern program is on the horizon, though Webster cautions that the studio is still pre‑revenue and must balance ambition with financial reality. Reflecting on the industry’s past focus on “superstar” creators, Webster dismisses the myth of the lone visionary as “bullshit.” He argues that games are collaborative endeavors, and success should be attributed to strong teams rather than singular personalities. This philosophy underpins Fuse’s commitment to collaborative development and its openness to future partnerships.

While the studio’s next steps remain fluid, Webster hints that the launch of *Galactic Racer* is just the beginning. “We’ll be talking to partners about new opportunities, and we have ideas for where we want to go next.

Independent developers need to stay flexible and adaptable,” he concludes.