Matt Webster’s career once seemed destined to stay within the walls of Electronic Arts. He started at the company in 1990 and spent nearly twenty years developing iconic titles such as Burnout and Need for Speed while working at Criterion, the studio EA acquired in 2004. In early 2023, however, Webster, along with former Criterion colleagues Steve Uphill, Pete Lake, Andrei Shires and Alan McDairmant, decided to leave the corporate giant and launch their own independent venture, Fuse Games, based in the United Kingdom.
Just over three years later the fledgling studio is poised to release its debut title, *Star Wars: Galactic Racer*, which will be published by the newly independent label Secret Mode. The timing of *Galactic Racer* is noteworthy. It arrives roughly 24 years after the last Star Wars‑themed racing game, 2002’s *Racer Revenge*, and it does so in an era when traditional racing franchises have struggled to capture mainstream interest. Recent industry news underscores this shift: Amazon withdrew from a publishing agreement with Maverick Games for the upcoming driving title *Clutch*, with Amazon Games head Jeff Gattis explaining that the market simply didn’t seem to fit the project.
Meanwhile, Criterion itself has pivoted away from pure racing experiences toward the *Battlefield* series. Despite these signals, Webster remains convinced there is still a viable audience for a Star Wars racing adventure. "We clearly see a demand for a Star Wars‑based racing game," he told GamesIndustry.biz.
"Our community feedback—comments on videos, article reads—suggests we’re not the only ones who think there’s appetite for it." He adds that genre popularity tends to be cyclical. After a period dominated by shooters, other categories inevitably re‑emerge. "As more people play video games, even the tiniest niches can find a larger fan base," Webster explained.
According to Webster, modern gamers are hungry for fresh, compelling experiences that break the mold of what they’ve previously encountered. *Galactic Racer* aims to deliver exactly that by marrying the instant gratification of arcade‑style racing with imaginative, physics‑defying tracks. "We wanted to explore what’s possible once you’re no longer tied to ordinary tyres and tarmac," he said.
One example he cites is a course that spirals up the side of an active volcano, turning a race into a roller‑coaster‑like spectacle. Beyond the visual thrills, Fuse is deliberately subverting long‑standing racing conventions. Traditionally, racing games revolve around car collection—a formula that has remained largely unchanged for two decades. Webster argues it’s time to rip that model apart and borrow mechanics from other genres.
The studio has infused *Galactic Racer* with consequential decision‑making, particularly around crashes. In many modern racers, a rewind button nullifies any penalty for an accident, but Fuse wants crashes to matter. "If you crash too often, you’re sent back to the start, though you retain some meta‑progression that makes you a bit stronger," he explained.
This risk‑reward dynamic forces players to weigh every maneuver, especially when they’re on their final allowable crash. The game’s design also draws inspiration from roguelike titles such as *Hades*, *Returnal* and *Slay the Spire*, which prioritize infinite replayability.
"Racing thrives on replay value, so combining it with roguelike loops feels like a perfect match," Webster noted. Each run offers new challenges, procedural elements and the chance to improve over time, encouraging players to keep coming back for more. Releasing the title on October 6 places it strategically between several high‑profile launches. Rockstar’s *GTA 6* is slated for November 19, while September 24 saw the releases of *Control: Resonance* and *Silent Hill: Townfall*.
Some industry observers warned that September would be a crowded window, but Webster recalled that even in earlier eras, October was historically busy—what used to be called “Murderer’s Row.” He acknowledges the competition but maintains a “healthy confidence” tempered by realism. "Good games find a way," he said, echoing a mantra that has guided him through multiple industry cycles. Webster’s perspective on today’s wave of layoffs and risk‑averse studio culture is shaped by his long tenure.
He remembers a previous bout of downsizing about fifteen years ago and emphasizes that great teams produce great games, which in turn attract audiences. He argues that the current aversion to risk actually creates opportunities for developers willing to make calculated bets. However, he admits that securing funding for an independent studio in 2023 has been challenging.
"People told me I was brave to start an indie studio now, after 32 years at EA," he recalled. The solution, he says, lies in building a solid core team, refining a clear creative vision, and staying disciplined while remaining adaptable. Fuse Games operates with a relatively lean permanent staff—around 75 people—by design. Rather than expanding and contracting the workforce as projects come and go, the studio relies heavily on external partners to fill skill gaps.
This hybrid model blends transactional outsourcing for asset creation with deeper co‑development relationships where external studios participate in daily stand‑ups, Slack channels and even share codebases. Webster points out that the UK’s mature game development ecosystem makes it an ideal hub for such collaborations, noting a cultural shift from reluctant, siloed assistance to enthusiastic, value‑aligned partnerships. The results speak for themselves.
Starting Fuse in January 2023, the team managed to build a studio, assemble a diverse workforce and ship a full‑scale AAA‑quality game on Unreal Engine 5—all within three and a half years. "We didn’t know UE5 when we began, yet we delivered a polished product in a sustainable way," Webster said proudly. A notable aspect of Fuse’s approach is its emphasis on nurturing younger talent.
While the studio includes veterans from Criterion, many of its developers are fresh faces, and one of the producers had never worked in games before joining the project. Webster observes that these newcomers often bring a level of ingenuity and efficiency that surpasses expectations.
He argues that senior developers sometimes prefer working with peers who require minimal mentorship, which can stifle growth. By deliberately hiring and empowering younger staff, Fuse has cultivated a dynamic environment where mentorship and fresh ideas coexist. Looking ahead, Webster hopes to formalize an internship program to further develop 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, noting that many developers received funding to start their own studios only to discover how difficult it truly is.
He criticizes the industry’s lingering fascination with the “lone visionary” myth, calling it “bullshit.” In his view, games are always the product of collaborative effort, not solitary genius. As for Fuse’s next steps, the studio remains flexible.
While the launch of *Star Wars: Galactic Racer* marks a significant milestone, Webster says the team is already exploring future opportunities and potential directions. "For an independent developer today, adaptability is essential," he concludes, underscoring the studio’s commitment to staying agile in a rapidly evolving market.