Matt Webster’s career once seemed destined to remain within the walls of Electronic Arts. He first joined the company in 1990 and spent nearly twenty years contributing to the iconic Burnout and Need for Speed franchises while they were under the umbrella of Criterion, the studio EA acquired in 2004.
In early 2023, however, Webster and a group of 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. Just over three years later, Fuse is poised to launch its debut title, *Star Wars: Galactic Racer*, with publishing duties handled by the newly autonomous label Secret Mode. The timing of *Galactic Racer* is noteworthy.
The last Star Wars‑themed racing game, *Racer Revenge*, hit shelves in 2002, a full twenty‑four years ago. Since then, the racing genre has struggled to maintain a prominent place in the broader market. Amazon recently abandoned a publishing agreement with Maverick Games for its upcoming title *Clutch*, with Amazon Games head Jeff Gattis stating, “We didn’t see a real fit in the market for that game.” Meanwhile, Criterion, once a powerhouse of arcade‑style racers, has shifted its focus to the *Battlefield* franchise, leaving a noticeable void for high‑octane, Star Wars‑flavored speed‑racing experiences.
Despite these signals, Webster remains convinced that a viable audience 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 think that, and the response we get from people watching our videos and reading our articles suggests we’re not alone.” He points out that genres tend to be cyclical. “We went through a phase where shooters dominated, but that’s not the only genre that can thrive. As more people play video games, even the tiniest niches can find a larger following.” Webster argues that modern gamers are hungry for fresh, compelling experiences that break the mold of what they’ve seen before. He sees *Galactic Racer* as a vehicle for that ambition: “Our vision is to deliver something new and exciting.” The team deliberately embraced the instant‑gratification feel of classic arcade racers while also asking, “What can we do when we’re no longer bound by the physics of tyres and tarmac?” The answer, he says, is tracks that climb the sides of active volcanoes and courses that feel more like roller‑coasters than traditional circuits.
Beyond the adrenaline‑pumping thrills, *Galactic Racer* aims to overturn long‑standing conventions within the racing genre. For decades, the core loop has revolved around collecting cars—a formula that hasn’t fundamentally changed in twenty years.
Webster wants to “rip that up and steal ideas 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 any penalty, but Fuse wants to restore risk: “If you crash too often, you’re sent back to the start, though you keep some meta‑progression that puts you in a stronger position.” This creates a tension between risk and reward that mirrors the design philosophy of roguelikes such as *Hades*, *Returnal*, and *Slay the Spire*, which prioritize infinite replayability.
The consequence system forces players to weigh each mistake. “When you’re on your last crash and your systems are critical, you start to feel the weight of that decision,” Webster explains.
This design choice marks a departure from the hand‑holding that has become commonplace in AAA titles, especially as the industry gears up for heavyweight releases like *GTA 6*. *Galactic Racer* is slated for release on October 6, strategically placed between the September launch of titles like *Control: Resonance* and *Silent Hill: Townfall* and the anticipated November 19 debut of *GTA 6*.
While some industry observers worry about a crowded pre‑holiday window, Webster recalls past years when October was already a bustling month, referring to the old “murderer’s row” of releases. He acknowledges the competition but maintains a “healthy sense of confidence” tempered by realism: “Good games will find a way.” The conversation naturally shifts to the broader context of industry layoffs and risk aversion. Having witnessed a wave of cuts fifteen years ago, Webster notes that great teams produce great games, and great games attract audiences.
He argues that the current climate is marked by an aversion to risk, which paradoxically creates opportunities for studios willing to take calculated bets. “If you’re too cautious, you limit yourself,” he warns. Starting a new studio in 2023 has not been without hurdles.
Funding proved elusive, with many questioning the wisdom of launching an independent studio in a turbulent market. Webster reflects on his 32‑year tenure at EA, describing the shift as a leap from a protective bubble into a world where the fundamentals—building a solid team, honing a creative vision, and maintaining disciplined planning—remain essential. He emphasizes that a motivated, engaged team is the cornerstone of success.
Fuse Games operates with a relatively lean core team of around 75 people, a deliberate choice to avoid the boom‑and‑bust staffing cycles that plague many larger developers. Instead, the studio leans on external partners to fill skill gaps, employing a hybrid model that blends pure outsourcing (transactional asset creation) with deep co‑development (external studios participating in stand‑ups, Slack channels, and codebases). Webster highlights the UK’s mature development ecosystem as a fertile ground for such collaborations, noting a cultural shift from reluctant, grudging assistance to enthusiastic, value‑aligned partnerships.
According to Webster, this blended approach enables a AAA‑scale project to be delivered on a more sustainable budget. The rapid development timeline—Fuse was founded in January 2023, and three and a half years later the team has built a studio, assembled a team, and completed a game on Unreal Engine 5 despite none of them having prior UE5 experience—stands as proof of concept for this model. Another striking element of Fuse’s story is its infusion of youthful talent.
While the studio includes veterans from Criterion, many of its developers are newcomers to the industry, including a producer with no prior gaming background. Webster praises this fresh perspective: “Our young talent is often smarter and more effective than I was at that age. We’ve seen greater success with them than with some senior hires.” He observes that seasoned developers sometimes prefer to work with equally senior colleagues, limiting mentorship opportunities.
In contrast, nurturing younger staff creates a dynamic where both parties feel motivated and engaged. Looking ahead, Webster hopes to formalize an internship program to further cultivate emerging talent, though he acknowledges the studio is still pre‑revenue. He draws inspiration from Criterion’s successful intern pipelines and cautions that developing talent requires a clear-eyed understanding of the associated costs.
Reflecting on a period five or six years ago when the industry enjoyed abundant capital, Webster recalls how many successful teams received funding to spin off their own studios, only to discover the reality was far tougher than anticipated. He criticizes the industry’s lingering fixation on the myth of the “single creative visionary,” labeling it “bullshit.” In his view, games are always the product of collaborative effort, not solitary genius. As for Fuse’s next steps, Webster admits the future is still taking shape.
The launch of *Star Wars: Galactic Racer* is just the beginning, and the studio remains open to exploring new opportunities while staying adaptable—a necessity for independent developers in today’s fast‑moving market.