Matt Webster’s career once seemed destined to stay within the walls of Electronic Arts. He started at EA in 1990 and spent almost twenty years developing titles for Criterion, the studio behind Burnout and Need for Speed, until EA acquired Criterion 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. Three and a half years later the fledgling company is on the brink of releasing its debut title, Star Wars: Galactic Racer, which will be published by the newly independent label Secret Mode.
The timing of Galactic Racer’s arrival is noteworthy. The last Star Wars racing game, Racer Revenge, hit shelves in 2002, meaning the franchise has been absent from the genre for a quarter of a century. In the intervening years, mainstream racing games have struggled to maintain a strong foothold.
Amazon recently cancelled a publishing agreement with Maverick Games for a forthcoming driving title called Clutch, with Amazon Games head Jeff Gattis explaining that the project didn’t fit the market’s current appetite. Meanwhile, Criterion, once a powerhouse of arcade‑style racing, has shifted its focus to the Battlefield franchise.
Despite these signals, Webster remains convinced that a market exists for a Star Wars‑themed racer. “We clearly see an audience for a Star Wars racing game,” he told GamesIndustry.biz.
“We’re not the only ones who think that, and the reaction we get from our videos and articles suggests we’re not alone.” He points out that gaming genres tend to be cyclical. “Shooters dominated for a while, but that’s not the only genre that can thrive. As more people play video games, even the tiniest niches can attract larger follow‑ups.” Webster believes players are hungry for experiences that feel fresh, fun, and compelling—something they haven’t encountered before. He argues that Galactic Racer aims to deliver exactly that.
The team wanted to capture the instant gratification of an arcade racer while also asking, “What can we do when we’re not limited by real‑world tyres and tarmac?” The answer, he says, includes tracks that climb the side of an active volcano and courses that feel like roller‑coasters, offering a sense of daring that traditional racing games rarely provide. Beyond the high‑octane thrills, Galactic Racer is designed to upend long‑standing conventions of the genre.
Most racing games have relied on a car‑collection model for the past two decades. Webster proposes 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 erases the penalty for mistakes, but Webster wants crashes to matter.
“If you crash too often, you’re sent back to the start, but you keep some meta‑progression that makes you stronger the next run,” he explains. This risk‑reward loop forces players to weigh each maneuver carefully, especially when they’re on their final allowed crash. The game’s design is heavily inspired by roguelike principles found in titles such as Hades, Returnal and Slay the Spire—games built around infinite replayability.
Racing, by its nature, thrives on repeated attempts, so merging the two philosophies creates a “match made in heaven,” according to Webster. The idea is to give each run a unique feel while preserving a core progression that rewards perseverance. Launching the game on October 6 places it in a crowded release window, sandwiched between blockbuster titles like Control: Resonance and Silent Hill: Townfall (both arriving on September 24) and the highly anticipated GTA 6, slated for November 19.
Webster acknowledges the competition but notes that the industry has always dealt with busy launch calendars. “People used to call September ‘Murderer’s Row,’ yet October was just as packed.
We’re confident, but we keep a realistic view of how things might turn out.” The conversation also touched on the broader industry climate, especially the wave of layoffs that has swept through major studios. Webster, who has witnessed a similar downturn a decade and a half ago, believes that great teams produce great games, and great games find their audience. He argues that the current risk‑averse environment actually opens doors for studios willing to take calculated bets.
“When you avoid risk, you limit opportunity. Those who are brave enough to push boundaries can reap the rewards.” Funding an independent studio in 2023 has not been easy. Webster recalls being told, “You’re brave to start an indie studio now.” After 32 years at EA, he found himself navigating a completely new landscape. His guiding principles remained the same: assemble a talented team, sharpen a clear creative vision, and maintain disciplined planning—while accepting that any plan will be imperfect and must be iterated upon.
He emphasizes that a motivated, engaged team is the engine behind any successful project. Fuse Games operates with a relatively lean core of about 75 people, a deliberate choice to avoid the typical “grow‑shrink‑grow‑shrink” cycle that plagues many AAA productions. Instead, the studio leverages external partners for scaling.
These collaborations range from transactional outsourcing for asset creation to full co‑development, where outside studios sit in on daily stand‑ups, share Slack channels, and contribute directly to the codebase. Webster highlights the UK’s mature development ecosystem as a fertile ground for such partnerships, noting that today’s external studios are eager to work on varied projects rather than merely keeping the lights on. According to Webster, this hybrid model—small permanent core plus trusted external allies—demonstrates that a AAA‑scale game can be built on a sustainable budget without the massive staffing swings of the past.
The rapid development timeline of Galactic Racer underscores this point: Fuse was founded in January 2023, and within three and a half years the team learned Unreal Engine 5, built a studio infrastructure, and delivered a full‑featured game. The studio’s talent mix also reflects a shift toward nurturing younger developers.
Alongside the Criterion veterans, Fuse has recruited many fresh faces; one producer, for instance, had never worked in games before joining the project. Webster praises this new generation, saying they often bring more efficiency and insight than he possessed at the same age. He observes that senior developers sometimes prefer to work with peers who require minimal mentorship, but fostering young talent creates a more dynamic and motivated environment.
He hopes to formalize this approach with an intern program in the future, though he cautions that the studio is still pre‑revenue and must balance ambition with financial reality. Reflecting on an earlier era when the industry was flush with cash, Webster recalls how many successful teams were given funding to spin out into their own studios, only to discover the challenges of independent operation. He critiques the industry’s lingering fascination with the “lone creative visionary” myth, calling it “bullshit.” In his view, games are always the product of collaborative effort, not the singular genius of one individual.
Looking ahead, Webster admits that Fuse’s roadmap after Galactic Racer is still taking shape. The launch will be just the beginning, and the studio remains open to exploring new opportunities and partnerships. Flexibility and adaptability, he says, are essential for any independent developer navigating today’s volatile market.
In sum, Matt Webster’s vision for Star Wars: Galactic Racer blends nostalgic arcade thrills with modern roguelike mechanics, all while championing a sustainable development model that leans on a small core team and strategic external collaborations. He believes that as gaming audiences expand, even the most niche concepts can find a sizable following—provided the experience is fresh, engaging, and built by a team that truly cares about its craft.