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 Criterion studio—home of Burnout and Need for Speed—until EA acquired the developer 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 team is on the brink of releasing 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 lost some of its mainstream steam. Amazon recently walked away from a publishing agreement with Maverick Games for the upcoming driving title Clutch, with Amazon Games head Jeff Gattis explaining that the market didn’t appear to have a clear fit for that project.
Meanwhile, Criterion itself has shifted its focus away from pure racing and now contributes to the Battlefield franchise. Despite these signals, Webster remains convinced that a market exists for a Star Wars racing experience. “We clearly think 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 reaction we get from people watching our videos and reading our articles suggests we’re not alone.” He argues that video‑game genres tend to be cyclical. After a period dominated by shooters, other types inevitably return to prominence. “As more and more people play video games, even the tiniest niches find a bigger audience,” Webster added.
According to Webster, modern players crave "fun, interesting, compelling new experiences that they haven’t seen before," and he believes Galactic Racer delivers exactly that. The studio set out to capture the instant‑gratification feel of classic arcade racers while also exploring what can be done when designers are no longer tethered to realistic tyres and tarmac. “We have tracks that climb the side of an active volcano,” he explained. “Sometimes it feels like a roller‑coaster.” Beyond the high‑octane thrills, Galactic Racer deliberately subverts long‑standing racing conventions.
Traditionally, racing games revolve around collecting cars—a formula that hasn’t fundamentally changed in two decades. Webster wants to rip that model apart and borrow mechanics from other genres. One of the most striking innovations is the emphasis on consequential decision‑making, especially around crashes. In many contemporary racers a rewind button erases any penalty, but Fuse wants crashes to matter.
"If you crash too many times you’re sent back to the start," Webster says, "but you keep some meta‑progression, so you restart from a slightly stronger position. The final crash feels weighty; you start to weigh the risk you’re taking." The game’s design also draws inspiration from roguelike titles such as Hades, Returnal and Slay the Spire—games built around infinite replayability.
"Racing thrives on replayability," Webster notes, "so marrying it with roguelike loops feels like a match made in heaven." The result is a title that encourages players to learn from each run, adapt their strategies, and feel a genuine sense of progression even when they fail. Launching on October 6, Galactic Racer lands a respectable month before the highly anticipated GTA 6, slated for November 19, yet after other major releases like Control: Resonance and Silent Hill: Townfall (both September 24). Webster acknowledges the crowded calendar but points out that the industry has weathered even busier pre‑Christmas windows in the past.
"Someone once said September looks busy, but I remember the old ‘murderer’s row’ in October—there was always a lot happening," he recalls. He emphasizes that Fuse approaches the market with a "healthy sense of confidence" balanced by a realistic appraisal 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—first the cuts of the early 2000s, then the more recent round‑downs. "Great teams make great games, and great games find an audience," he says.
He sees the current risk‑averse climate as an opening for studios willing to take calculated bets. "If you’re not willing to risk, you limit opportunity," he warns. Funding, however, has not been a free ride.
Starting a new studio in 2023 proved challenging, with many investors skeptical of an independent venture. Webster reflects on his 32‑year tenure at EA as a bubble that left him unprepared for the realities of bootstrapping a studio. He stresses a core philosophy: assemble a talented team, refine a clear creative vision, and maintain disciplined planning—while accepting that any plan will be imperfect and must be iterated upon.
"Engaged and motivated talent makes great things," he says, "so it’s your job to keep them inspired." Fuse Games operates with a relatively lean core—about 75 people—by design. Rather than expanding and contracting a large staff, the studio leans on external partners to fill gaps. This hybrid model mixes transactional outsourcing for asset creation with deeper co‑development relationships where outside studios attend stand‑ups, join Slack channels, and contribute directly to the codebase. Webster highlights the UK’s mature development ecosystem as a fertile ground for such collaborations, noting that today’s external studios are eager to work on diverse projects rather than merely keeping the lights on.
According to Webster, this approach proves that a AAA‑scale game can be built on a sustainable budget if a small permanent team is complemented by trusted partners who share the same values. The rapid development timeline of Galactic Racer—just three and a half years from Fuse’s founding to a launch‑ready product built on Unreal Engine 5—demonstrates the viability of this model.
Another notable aspect of Fuse’s journey is its blend of veteran expertise and fresh talent. While the studio includes several Criterion veterans, many of its developers are newcomers; one producer, for example, had never worked in games before joining. "The young talent we’ve got is smarter and more effective in many ways than I was at that age," Webster admits.
He observes that seasoned developers often prefer senior colleagues who can work independently, but this mindset can stifle mentorship. By deliberately nurturing younger staff, Fuse has discovered a more dynamic and innovative environment. Looking ahead, Webster hopes to formalise an internship program to further cultivate emerging talent, though he cautions that the studio is still pre‑revenue and must manage costs carefully.
He reflects on a period five or six years ago when the industry was flush with capital and many successful developers were handed funding to start their own studios—only to discover how hard it truly is. "Money should go to great teams, not just to superstar creators," he asserts. He dismisses the myth of the singular creative visionary as "fucking bullshit," emphasizing that games are fundamentally collaborative endeavors. As for Fuse’s next steps, Webster admits the future is still being written.
The launch of Galactic Racer is just the beginning, and the studio remains open to exploring new opportunities and ideas. "Independent developers have to stay flexible and adaptable," he says. "We have a sense of where we want to go, but we’ll let the market and our own growth shape the path forward."