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 developing titles for the Burnout and Need for Speed franchises through Criterion, the studio EA acquired in 2004.
In early 2023, however, Webster, together with fellow Criterion alumni Steve Uphill, Pete Lake, Andrei Shires and Alan McDairmant, decided to break away and launch an independent UK studio called Fuse Games. Three and a half years later the fledgling company is poised to release 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 generally lost some of its mainstream shine.
Amazon recently cancelled a publishing agreement with UK studio Maverick Games for its upcoming driving title Clutch, with Amazon Games head Jeff Gattis remarking that the market simply didn’t seem to fit the project. Meanwhile Criterion, once a powerhouse of arcade‑style racing, has pivoted 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.
“We’re not the only ones thinking that, and the response we get from our videos and articles suggests we’re not alone.” He points out that video‑game genres tend to be cyclical. “We went through a phase where shooters dominated, but that’s not the only cycle.
As more people play games, even the tiniest niches can find a larger fan base.” Webster believes players are hungry for "fun, interesting, compelling new experiences they haven’t seen before," and he feels Galactic Racer delivers exactly that. The studio’s vision is to craft something fresh, blending the instant gratification of classic arcade racers with imaginative, physics‑defying track design now possible when developers are no longer bound by realistic tyres and tarmac. “One of our courses climbs 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 in the racing genre. Traditionally, racing games have centered on car collection—a formula that has persisted for roughly two decades. Webster wants to rip up that model and borrow mechanics from other genres. The game introduces meaningful consequences for player actions, especially crashes.
In many modern racers, a rewind button eliminates penalty, but Fuse wants crashes to matter. “If you crash too often, 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 crash and the system is critical, you actually feel the risk.” The design draws inspiration from roguelike titles such as Hades, Returnal and Slay the Spire—games built around infinite replayability. "Racing thrives on replayability, so marrying it with roguelike loops feels like a match made in heaven," Webster notes.
This approach encourages players to experiment, learn from each run, and accept that failure is part of the journey, rather than a mere inconvenience. Releasing the game on October 6 places it between two major industry events: Rockstar’s highly anticipated GTA 6 slated for November 19, and a crowded September launch window that includes titles like Control: Resonance and Silent Hill: Townfall (both dropping on September 24). Webster acknowledges the competitive calendar but reminds us that crowded release windows are nothing new.
“People used to call October ‘Murderer’s Row,’ and it was always packed,” he says. “We have a healthy confidence tempered by a realistic view of how things might turn out.” Webster’s optimism is rooted in a broader industry observation. He has witnessed two waves of layoffs over his long career and notes a prevailing aversion to risk among publishers. “When companies shy away from risk, it creates opportunities for those willing to take calculated bets,” he argues.
“If you’re overly cautious, you limit the very chances that could lead to breakthrough titles.” Funding an independent studio in 2023, however, has not been easy. “People told me it was brave to start an indie studio now,” Webster recalls.
After 32 years at EA, stepping into a startup environment was a steep learning curve. He relied on core principles he’d cultivated over decades: build a strong team, refine a clear creative vision, and maintain disciplined planning—while accepting that plans are always provisional. “Engaged, motivated talent produces great work, so it’s our job to keep them inspired,” he says.
Fuse Games operates with a relatively lean core team of about 75 people, a deliberate choice to avoid the boom‑and‑bust staffing cycles that plague many AAA projects. Instead of constantly hiring and firing, Fuse supplements its internal staff with external partners for specific needs.
This hybrid model ranges from transactional outsourcing for asset creation to full co‑development, where external studios sit in on stand‑ups, share Slack channels, and contribute directly to the codebase. Webster highlights the UK’s mature development ecosystem as a key advantage, noting that today’s studios are eager to collaborate rather than protectively guard their own pipelines. He believes this approach demonstrates that a AAA‑scale game—by scope, visual fidelity and ambition—can be built on a sustainable budget when a small, permanent core is augmented by trusted external teams. The rapid development timeline of Galactic Racer underscores the viability of the model: Fuse launched in January 2023, and three and a half years later they have a finished product built on Unreal Engine 5, a technology none of the founders originally mastered.
Another notable aspect of Fuse’s strategy is its emphasis on youth. Alongside the Criterion veterans, the studio has recruited a wave of younger developers, even hiring a producer with no prior game‑development experience. "The young talent we’ve brought in is often smarter and more effective than I was at their age," Webster says.
He observes that seasoned developers sometimes prefer senior colleagues who need little guidance, but that dynamic can stifle growth. By nurturing fresh talent, Fuse has found a surprising edge, prompting the studio to reconsider its hiring priorities.
Webster hopes to formalise this commitment through an intern program, though he admits the studio is still pre‑revenue and must tread carefully. He cites Criterion’s successful internship pipeline as an inspiration and acknowledges the cost of developing talent, but believes the long‑term payoff outweighs the short‑term expense. Reflecting on the industry’s past excesses, Webster recalls a time five or six years ago when abundant funding allowed developers who had delivered a hit to spin off their own studios—often with unrealistic expectations. He argues that money should be allocated to strong teams rather than to the myth of a singular creative visionary.
"The idea of a lone genius is nonsense," he says. "Games are collaborative creations, built by many individuals." Looking ahead, Fuse Games remains flexible. While the launch of Galactic Racer marks a major milestone, the studio is already contemplating future opportunities and potential directions. "We have ideas about where we want to go next, but as an independent developer you have to stay adaptable," Webster concludes.
"The launch is just the beginning, and we’ll keep looking for the right chances to keep pushing forward."