Matt Webster’s career once seemed destined to stay within the walls of Electronic Arts. He started at the company in 1990 and spent almost twenty years developing titles for the Criterion studio, the team behind Burnout and Need for Speed that 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 named Fuse Games. Just over three years later, Fuse is on the verge 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 time when the racing genre has generally lost some of its mainstream momentum. Amazon recently cancelled a publishing agreement with UK studio Maverick Games for a forthcoming driving title called Clutch, with Amazon Games head Jeff Gattis stating, “we didn’t see a real fit in the market for that game.” Meanwhile, Criterion itself has shifted its focus away from racing and is now working on the Battlefield franchise. Despite these market signals, Webster remains convinced that a demand exists. “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 response we get from people watching our videos and reading our articles suggests we’re not alone.” He argues that gaming genres tend to be cyclical. After a period dominated by shooters, other types of games inevitably resurface. “As more people play video games, even the tiniest niches find a bigger audience,” Webster said.
According to Webster, modern players are hungry for "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 limited by 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 seeks to upend long‑standing conventions of the racing genre.
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 of the most striking innovations is the emphasis on consequential decision‑making, especially regarding crashes. In many contemporary racers, a rewind button eliminates the penalty for mistakes, but Fuse wants to re‑introduce genuine risk.
“If you crash too often you’re sent back to the start, but you keep some meta‑progression that puts you in a stronger position,” he said. “When you’re on your last allowed crash, you really feel the weight of that decision.” The game’s structure 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 principles feels like a match made in heaven," Webster noted. This design choice encourages players to keep experimenting with different routes, upgrades and strategies, knowing each run can end dramatically if they push their luck too far.
Webster acknowledges that launching a new IP in a crowded calendar is a bold move, especially with Rockstar’s GTA 6 slated for November 19. Galactic Racer is set for an October 6 release, giving it a modest gap before the blockbuster but still landing amid a busy September‑October window that includes titles like Control: Resonance and Silent Hill: Townfall. He points out that the industry has long dealt with packed pre‑holiday schedules. “People used to call September ‘murderer’s row,’ and October was always full of releases,” he recalled.
“We’re aware of the competition, but we have a healthy confidence tempered by a realistic view of how things might turn out.” When asked about the wave of layoffs sweeping the sector, Webster reflected on his long tenure and the previous round of cuts about fifteen years ago. “Great teams make great games, and great games find an audience,” he said. He sees the current risk‑averse climate as an opening for studios willing to take calculated bets. “If you’re unwilling to risk, you limit your opportunities,” he warned.
Funding, however, has not been easy for Fuse. Starting an independent studio in 2023 felt “brave” to many investors.
Webster described the learning curve after leaving a 32‑year stint at EA: “I was in a bubble. Building a new studio meant applying the principles I’d learned—assembling a strong team, refining a creative vision, and staying disciplined while knowing the plan will always be imperfect.” He stresses that an engaged, motivated crew is the engine behind any successful project.
Fuse’s team is relatively small for a AAA‑scale title—about 75 people—but this is intentional. The studio avoids the typical “grow‑shrink‑grow‑shrink” cycle by relying on external partners to fill skill gaps. “We’ve proven that a lean core team supplemented by trusted collaborators can be a sustainable model for AAA development,” Webster explained.
The external work ranges from transactional outsourcing for asset creation to full co‑development where partner studios join daily stand‑ups, Slack channels and even the codebase. The United Kingdom, in particular, offers a fertile environment for such collaborations.
The UK’s mature game‑development ecosystem now features companies eager to work on diverse projects rather than clinging to a single in‑house title. This shift has created a pool of talent that stays fresh and motivated, which benefits studios like Fuse.
Webster is especially enthusiastic about the younger developers on his team. One of the producers on Galactic Racer had never worked in games before joining Fuse. “Our young talent is smarter and more effective in many ways than I was at that age,” he said. He observes that seasoned veterans often prefer senior colleagues who need little guidance, which can stifle mentorship.
By focusing on nurturing younger staff, Fuse has discovered a more dynamic and innovative workflow. Looking ahead, Webster hopes to formalize an internship program to further cultivate fresh talent, though he admits the studio is still pre‑revenue.
He cites Criterion’s successful intern initiatives as a model and stresses that such programs require a clear understanding of the costs involved. Reflecting on the industry’s earlier days of abundant funding, Webster remembers how many developers who rode the wave of a hit game were encouraged to spin off their own studios, only to discover the challenges were far greater than expected. He argues that money should be allocated to strong teams rather than to the myth of a singular “creative visionary.” In his view, that notion is “fucking bullshit.” Games, he insists, are always collaborative efforts.
As for Fuse’s next steps, the future remains fluid. The launch of Galactic Racer is just the beginning, and the studio is already exploring potential follow‑up projects.
“We have ideas about where we want to go next, but as an independent developer you have to stay flexible and adaptable,” Webster concluded. The ambition is clear: to prove that a small, passionate team can deliver a high‑quality, innovative racing experience that resonates with both Star Wars fans and gamers seeking fresh, replayable fun.