Matt Webster’s career once seemed destined to stay within the walls of Electronic Arts. He began his tenure there in 1990 and spent nearly twenty years developing iconic franchises such as Burnout and Need for Speed while at Criterion, the studio EA acquired in 2004. Yet in early 2023 Webster, together with fellow Criterion alumni 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 team is on the brink of releasing its debut title, Star Wars: Galactic Racer, which will be published by the newly independent label 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 moment when the racing genre has largely slipped out of the mainstream spotlight. Recent industry news underscores that trend: Amazon withdrew from a publishing agreement with Maverick Games for the upcoming driving title Clutch, with Amazon Games head Jeff Gattis stating that the market simply didn’t have room for another racer. Meanwhile Criterion, once a powerhouse of arcade‑style racing, has pivoted toward the Battlefield franchise, further signaling the genre’s waning commercial pull.
Despite these signals, Webster remains convinced there is still a viable audience for a Star Wars racing experience. “We clearly think there’s a market for a Star Wars‑themed racer,” he told GamesIndustry.biz. “We’re not the only ones who feel that way, and the reaction we get from our videos and articles suggests we’re not alone.” He argues that gaming trends are cyclical.
After a period dominated by shooters, other genres inevitably rise again, especially as the overall player base expands. "The more people who play video games, the larger even the tiniest niche becomes," Webster explained.
According to Webster, modern players are hungry for fresh, compelling experiences that they haven’t encountered before, and he believes Galactic Racer delivers exactly that. The team set out to capture the instant‑gratification feel of classic arcade racers while also exploring what can be done when a game is no longer bound by the physics of real‑world tyres and tarmac. "One of our tracks actually climbs the side of an active volcano – it’s a roller‑coaster at speed," he said, highlighting the kind of over‑the‑top, imaginative design that would be impossible in a conventional racing simulation. Beyond the high‑octane thrills, Galactic Racer aims to upend long‑standing conventions of the racing genre.
For two decades, most racers have relied on a car‑collection model where players unlock new vehicles over time. Webster wants to tear that formula apart and borrow mechanics from other genres. He cites the game’s emphasis on meaningful consequences as a prime example. In many modern racers, a rewind button can erase mistakes, diluting the impact of crashing.
Fuse Games decided to re‑introduce risk: each crash pushes the player closer to a reset, but some meta‑progression carries over, rewarding careful play and strategic risk‑taking. The design philosophy draws heavily from roguelike principles found in titles such as Hades, Returnal and Slay the Spire.
Those games are built around infinite replayability, a trait that dovetails naturally with racing, a genre that thrives on repeated runs and mastery. "When you crash too many times you’re sent back to the start, yet you keep some persistent upgrades," Webster explained.
"That creates tension – on your final allowed crash you’re forced to weigh risk versus reward in a way you rarely see in AAA racers." Launching the game on October 6 places it in a crowded autumn window, sandwiched between blockbuster releases like Control: Resonance (September 24) and Silent Hill: Townfall (also September 24), and a month ahead of the highly anticipated GTA 6 slated for November 19. Webster acknowledges the competition but points out that crowded release schedules are nothing new. He recalled past industry chatter about “Murderer’s Row” in September and notes that October has historically been a busy month as well. "We have a healthy confidence tempered by a realistic view of how the market may respond," he said.
Webster also reflected on the wave of layoffs sweeping the industry. Having witnessed a similar contraction fifteen years earlier, he believes that strong teams produce great games, and great games find their audience regardless of market turbulence. He warns that an aversion to risk is limiting opportunities, and that studios willing to take calculated bets can thrive. Funding an independent studio in 2023 has been far from easy.
Webster described the skepticism he faced when seeking capital, with many questioning the wisdom of launching a new studio after a 32‑year stint at EA. He emphasized a disciplined approach: assemble a talented team, refine a clear creative vision, devise a flexible plan (knowing it will evolve), and stay true to core values.
"Engaged and motivated talent makes great things," he asserted, underscoring the importance of leadership that inspires rather than merely directs. Fuse Games operates with a relatively lean core of about 75 people—a deliberate choice to avoid the boom‑and‑bust staffing cycles that plague many large developers. Instead, the studio leans on external partners to fill skill gaps, ranging from transactional outsourcing for asset creation to full co‑development arrangements where outside studios attend daily stand‑ups, share Slack channels and contribute directly to the code base. Webster highlighted the UK’s mature development ecosystem as a fertile ground for such collaborations, noting that today’s studios are eager to work across multiple projects and teams, keeping their workforce fresh and motivated.
Webster believes this hybrid model—small permanent core plus trusted external partners—could become the blueprint for sustainable AAA development. By leveraging external talent, Fuse has been able to deliver a game of AAA scope, scale and visual fidelity on a budget that feels manageable.
The rapid timeline of Galactic Racer’s creation illustrates the model’s effectiveness: Fuse was founded in January 2023, and in just three and a half years the team built the studio, assembled the workforce, learned Unreal Engine 5 from scratch, and produced a polished, market‑ready title. A notable aspect of Fuse’s culture is its embrace of younger developers.
Many of the team members have never worked on a game before, and the studio even hired a producer with no prior industry experience. Webster praised the fresh perspectives and adaptability of this new talent, suggesting that they have often outperformed more senior hires. He observed that seasoned veterans sometimes prefer to work with equally senior colleagues, which can limit mentorship opportunities.
By deliberately nurturing junior staff, Fuse hopes to create a virtuous cycle of growth and innovation. Looking ahead, Webster hopes to formalize an internship program to further develop emerging talent, though he cautions that the studio is still pre‑revenue and must balance ambition with financial reality. He reflects on a period five or six years ago when the industry was flush with capital and many successful developers received funding to start their own studios—only to discover the challenges were greater than anticipated.
He criticizes the industry’s lingering fascination with the myth of a singular creative visionary, calling it "bullshit" and insisting that games are always collaborative endeavors. As for Fuse’s next steps, the studio remains flexible. While the launch of Galactic Racer marks a major milestone, Webster says the team is already exploring future opportunities and ideas, but will continue to adapt to the ever‑changing independent development landscape.
The overarching message is clear: with a focused vision, a balanced team structure, and a willingness to take smart risks, even a niche concept like a Star Wars arcade racer can find its audience in today’s expansive gaming market.