Matt Webster’s career once seemed destined to stay within the walls of Electronic Arts. He started at the company in 1990 and spent nearly twenty years contributing to the Burnout and Need for Speed franchises while they were under the Criterion umbrella, 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, establishing the independent UK studio Fuse Games. Fast forward three and a half years, and the fledgling studio 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, and it does so at a time when the racing genre has generally slipped out of the mainstream spotlight. Recent industry news underscores this trend: Amazon withdrew from a publishing agreement with Maverick Games for its upcoming driving title Clutch, with Amazon Games head Jeff Gattis explaining that the market simply didn’t seem to fit the project. Meanwhile, Criterion, once a powerhouse of arcade‑style racers, has pivoted toward the Battlefield franchise, signaling a broader shift away from pure racing experiences.
Despite these signals, Webster remains convinced that a demand still exists. “We clearly believe 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 response we get from people watching our videos and reading our articles suggests we’re not alone.” He points out that gaming genres tend to be cyclical.
After a period dominated by shooters, other categories inevitably rise again. “As more people play video games, even the tiniest niches find a larger audience,” Webster added.
According to Webster, modern players crave fresh, compelling experiences they haven’t encountered before, and he sees Galactic Racer as delivering exactly that. The team set out to capture the instant gratification of an arcade racer while also exploring what becomes possible when you’re no longer constrained by realistic tyres and tarmac.
“We have tracks that climb the side of an active volcano,” he explained. “It’s like a roller‑coaster at times.” Beyond the high‑octane thrills, Galactic Racer seeks to upend long‑standing conventions of the racing genre.
Traditionally, racers have relied on a car‑collection model that has remained largely unchanged for two decades. Webster wants to tear that formula apart and borrow mechanics from other genres.
One of the most striking innovations is the emphasis on consequential decision‑making, particularly around crashing. In many modern racers, a rewind button can erase mistakes, diluting the impact of failure.
Fuse Games decided to re‑introduce real consequences: crash too often, and you’re sent 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 each maneuver carefully, especially when they’re down to their final allowable crash. The design philosophy also draws heavily from roguelike titles such as Hades, Returnal, and Slay the Spire—games built for infinite replayability. “Racing thrives on replayability, so marrying it with roguelike principles feels like a match made in heaven,” Webster said.
The meta‑progression system, permanent upgrades, and procedural elements ensure that each playthrough feels fresh while still rewarding skill and strategic choices. Launching on October 6, Galactic Racer lands in a crowded calendar that also includes heavyweight releases like Control: Resonance and Silent Hill: Townfall on September 24, and the much‑anticipated GTA 6 slated for November 19. Webster acknowledges the competition but notes that historically, September and October have always been busy months for game releases. “I remember the ‘murderer’s row’ era where October was jam‑packed,” he recalled.
“We have a healthy confidence tempered by a realistic view of how things may turn out.” The interview also touched on broader industry trends, particularly the wave of layoffs and a growing aversion to risk. Webster, who has witnessed multiple cycles of downsizing, believes that great teams produce great games, and great games ultimately find their audience.
He argues that the current risk‑averse climate actually creates opportunities for studios willing to take calculated bets. “If you’re not willing to gamble a little, you limit your own possibilities,” he said. Funding, however, has not been easy for the new studio. “People told me I was brave to start an independent studio in 2023,” Webster laughed.
After three decades at EA, stepping into the unknown required him to lean on core principles: building a strong team, refining a clear creative vision, and maintaining discipline while staying flexible. He emphasizes that a motivated, engaged team is the engine behind any successful project.
Fuse Games operates with a relatively lean core—about 75 staff members—by design. Rather than inflating and deflating the team size as projects evolve, the studio relies on external partners to fill gaps. This hybrid model blends traditional outsourcing (transactional asset creation) with deeper co‑development relationships where external studios become extensions of the internal team, participating in daily stand‑ups, Slack channels, and even sharing the codebase. Webster highlights the UK’s mature game development ecosystem as a fertile ground for such collaborations, noting a cultural shift from reluctant, protective partnerships to enthusiastic, value‑aligned cooperation.
Webster believes this approach can deliver AAA‑level scope, scale, and visual fidelity on a more sustainable budget. He points to the rapid development timeline of Galactic Racer as evidence: “We started Fuse in January 2023, and three and a half years later we have a full‑blown AAA‑ish title built on Unreal Engine 5, a technology none of us had mastered at the outset. That feels like an achievement, especially because we did it in a healthy, sustainable way.” A notable aspect of Fuse’s staffing strategy is the infusion of young talent alongside seasoned veterans. Some team members, including a producer, had never worked in games before joining the project.
Webster praises this fresh perspective, stating that younger developers often bring smarter, more effective approaches than he could have imagined at their age. He also observes that senior developers sometimes prefer to work with peers who require minimal interaction, which can stifle mentorship.
By deliberately nurturing younger staff, Fuse aims to create a culture where both experienced and novice creators thrive. Looking ahead, Webster hopes to formalize an internship program to further cultivate emerging talent, though he admits the studio is still pre‑revenue. He references Criterion’s successful intern pipelines as a model and acknowledges the costs associated with talent development, but remains optimistic about the long‑term payoff. Reflecting on a period five or six years ago when the industry was flush with cash, Webster recalls how many teams received funding simply because they had delivered a hit title, only to discover that running a studio is far more challenging than anticipated.
He criticizes the industry’s lingering fixation on the “single creative visionary” myth, calling it “bullshit.” In his view, games are collaborative endeavors, and the notion that one person can single‑handedly drive a project is a harmful illusion. As for Fuse Games’ next steps, Webster admits the future is still being charted. The launch of Galactic Racer is just the beginning, and while the studio has ideas for future projects, he stresses the need for flexibility and adaptability in today’s independent development landscape. The team remains open to conversations about new opportunities, always guided by the principle that great games arise from great teams, and great teams are built on trust, collaboration, and a willingness to take measured risks.