Matt Webster appeared destined for a lifelong career at Electronic Arts after joining the company in 1990. He spent nearly twenty years contributing to the Burnout and Need for Speed titles produced by Criterion, which EA acquired in 2004. In early 2023, however, Webster, alongside former Criterion colleagues Steve Uphill, Pete Lake, Andrei Shires, and Alan McDairmant, left to launch the independent UK studio Fuse Games.
Just over three years later, the fledgling studio is poised to release 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 traditional racing titles have lost some of their mainstream appeal. Amazon recently walked away from a publishing agreement with Maverick Games for the upcoming driving game Clutch, with Amazon Games head Jeff Gattis noting that the market didn’t seem to fit the project.
Meanwhile, Criterion itself has shifted focus from racing to the Battlefield franchise. Despite these signals, Webster remains confident that a market exists for a Star Wars racing experience. “We clearly see an audience for a Star Wars racing game,” he told GamesIndustry.biz.
“Our community’s reaction to our videos and articles suggests we’re not the only ones who think so.” He argues that gaming genres are cyclical; after a period dominated by shooters, other types inevitably resurface. As more people play video games, even the smallest niches can attract a sizable following.
Webster believes players are craving “fun, interesting, compelling new experiences they haven’t seen before,” and he feels Galactic Racer delivers exactly that. The team set out to capture the instant gratification of classic arcade racers while also exploring what’s possible when developers aren’t constrained by realistic tires and tarmac. “We have tracks that climb the side of an active volcano,” he explains, describing courses that feel more like roller‑coasters than conventional circuits. Beyond the high‑octane thrills, Galactic Racer deliberately subverts long‑standing racing conventions.
Most racing games have relied on a car‑collection model for the past two decades. Webster wants to tear that formula apart and borrow mechanics from other genres. One such borrowing is the emphasis on meaningful consequences. In many modern racers, a rewind button can erase mistakes, diluting risk.
Fuse re‑introduces stakes: crashing repeatedly forces the player back to the start, though some meta‑progression carries over, placing the racer in a stronger position for the next attempt. This risk‑reward loop mirrors the design philosophy of roguelikes such as Hades, Returnal, and Slay the Spire, which prioritize infinite replayability—a natural fit for racing games that thrive on repeated runs. Webster acknowledges that this approach marks a bold departure from the hand‑holding typical of many AAA titles, especially in a year when industry giants like Rockstar are set to release GTA 6. Galactic Racer is slated for launch on October 6, comfortably ahead of GTA 6’s November 19 release but still close to other high‑profile launches such as Control: Resonance and Silent Hill: Townfall on September 24.
He notes that crowded September release windows are nothing new; historically, developers referred to October as “Murderer’s Row” because of the dense slate of titles. When asked about the competitive landscape, Webster emphasizes a “healthy sense of confidence” tempered by realism. “Good games find a way,” he says, echoing a mantra that has guided him through industry cycles, including the wave of layoffs that has swept the sector in recent years. He observes that risk‑averse behavior dominates the current climate, creating opportunities for studios willing to take calculated bets.
“When you avoid risk, you limit opportunity,” he adds. Starting an independent studio in 2023 has not been without challenges.
Funding proved difficult to secure, and many questioned the wisdom of launching a new studio after a 32‑year tenure at EA. Webster’s response was to lean on principles he’d learned at EA: build a strong, motivated team; refine a clear creative vision; craft a disciplined, adaptable plan; and stay true to core values.
He stresses that engaged talent is the engine of great games. Fuse Games operates with a relatively lean core—about 75 people—by design. Rather than expanding and contracting staff in waves, the studio relies heavily on external development partners to fill capability gaps. This hybrid model blends transactional outsourcing for asset creation with deeper co‑development relationships where external studios join daily stand‑ups, Slack channels, and even the code base.
Webster highlights the UK’s mature development ecosystem as especially conducive to this collaborative approach, noting that today’s studios are eager to work across multiple projects, keeping their teams fresh and motivated. According to Webster, this model proves that a AAA‑scale game can be produced sustainably with a small permanent team supplemented by trusted partners.
The rapid development timeline of Galactic Racer—three and a half years from Fuse’s founding to a near‑complete UE5‑powered title—demonstrates the efficacy of this strategy. Fuse also benefits from an influx of younger developers.
One producer on Galactic Racer had never previously worked in games. Webster praises this new talent, stating they often outperform more seasoned colleagues in creativity and efficiency. He argues that focusing solely on senior hires can stifle growth, whereas nurturing junior staff cultivates a dynamic, motivated environment. While the studio currently lacks revenue, Webster hopes to formalize an intern program, citing Criterion’s successful internship pipeline as an inspiration.
Reflecting on the industry’s past, Webster recalls a time when successful games attracted abundant funding, leading many creators to spin off their own studios—only to discover that building a sustainable operation is far tougher than anticipated. He criticizes the industry’s lingering fixation on the “lone creative visionary,” calling it “bullshit.” In his view, games are always the product of collaborative effort. Looking ahead, Fuse Games remains flexible.
The launch of Galactic Racer is just the first step; the studio is open to exploring new opportunities and ideas, but it recognizes that independence requires adaptability. Webster concludes with optimism: “We’ve built a team, we’ve built a game, and we’ve done it in a healthy, sustainable way. Good games will find an audience, and we’re ready to meet them.”