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 working on iconic franchises such as Burnout and Need for Speed through Criterion, the studio EA acquired in 2004.
In early 2023, however, Webster, together with former Criterion colleagues Steve Uphill, Pete Lake, Andrei Shires and Alan McDairmant, decided to strike out on their own and founded the independent UK studio Fuse Games. Just over three years later the fledgling studio is poised to launch 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 moment when traditional racing games have struggled to capture mainstream attention. Amazon recently walked away from a publishing agreement with Maverick Games for the upcoming title Clutch, with Amazon Games head Jeff Gattis stating that the project didn’t fit the market.
Meanwhile, Criterion, once a powerhouse of arcade‑style racers, has shifted its focus to the Battlefield franchise. Despite these signals, Webster is convinced there is still a hungry audience for a Star Wars racing experience.
“We clearly believe there’s a market for a Star Wars racing game,” he told GamesIndustry.biz. “Our community, from video views to article comments, suggests we’re not alone in that belief.” Webster argues that video‑game genres are cyclical. After a period dominated by shooters, other genres inevitably resurface as player tastes evolve.
“As more people play games, even the tiniest niches find a bigger audience,” he said. He believes gamers are craving fresh, compelling experiences they haven’t seen before, and he sees Galactic Racer as delivering exactly that. The team set out to capture the instant gratification of classic arcade racing while also exploring what can be done when you’re no longer limited by real‑world constraints such as tyres and tarmac. “We have tracks that climb the side of an active volcano,” Webster explained, describing sections that feel more like roller‑coasters than conventional circuits.
Beyond the high‑octane thrills, Galactic Racer aims to upend long‑standing genre 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. The game introduces meaningful consequences for player actions, particularly crashes. In many modern racers a rewind button eliminates risk, but Fuse wants crashes to matter.
“If you crash too many times you’re sent back to the start, but you retain some meta‑progression that puts you in a stronger position,” he explained. This risk‑reward loop is inspired by roguelike titles such as Hades, Returnal and Slay the Spire, which are built around infinite replayability. Racing, by nature, thrives on repeated play, making the blend a natural fit. Webster acknowledges that this design philosophy represents a bold departure from the hand‑holding typical of 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 spaced from GTA 6’s November 19 release but still landing amid a crowded autumn slate that includes Control: Resonance and Silent Hill: Townfall on September 24. “September always looks busy,” he recalled, noting that even in earlier eras developers referred to October as “murderer’s row” because of the sheer volume of releases. Despite the competition, Fuse Games maintains a “healthy sense of confidence” tempered by realistic expectations. “I was always told good games will find a way,” Webster said, echoing a sentiment that has guided him through industry cycles.
The conversation turned to the broader context of layoffs and risk aversion in the sector. Having witnessed a wave of cuts fifteen years ago, Webster sees a pattern: great teams produce great games, and great games find audiences. He argues that today’s industry is overly cautious, shying away from calculated risks that could yield innovative products. “When you avoid risk, you limit opportunity,” he warned.
Starting a new studio in 2023 has not been without hurdles. Funding proved elusive; many questioned the wisdom of launching an independent studio in a turbulent market. Webster reflected on his 32‑year tenure at EA, describing the transition as a steep learning curve.
He emphasized core principles: building a talented team, refining a clear creative vision, and maintaining disciplined, adaptable planning. “The plan is always wrong, but it’s the best version you have today,” he said, underscoring the need for continual review and adaptation while staying true to core values.
Fuse Games operates with a relatively lean core—around 75 staff members—by design. Rather than expanding and contracting the internal roster, the studio leans heavily on external partners to fill capability gaps. This hybrid model blends transactional outsourcing for asset creation with deeper co‑development relationships where external studios attend stand‑ups, join Slack channels and contribute directly to the codebase. Webster highlighted the UK’s mature development ecosystem as a fertile ground for such collaborations, noting a cultural shift from reluctant, profit‑driven assistance to enthusiastic, skill‑sharing partnerships.
Webster believes this approach proves that a AAA‑scale game can be delivered on a sustainable budget when a small, permanent core team is augmented by trusted external studios that share the same values. The rapid development timeline of Galactic Racer—just three and a half years from Fuse’s founding to a near‑complete UE5‑based title—serves as evidence that the model works.
Another noteworthy aspect of Fuse’s strategy is its focus on nurturing young talent. Alongside veteran Criterion alumni, the studio has recruited many developers early in their careers; one producer on Galactic Racer had never previously worked in games. “The young talent we have is smarter and more effective in many ways than I was at that age,” Webster remarked. He observed that seasoned developers often prefer senior colleagues who need little guidance, but this can stifle growth.
By deliberately pivoting talent searches toward promising newcomers, Fuse has cultivated a vibrant, motivated workforce. Looking ahead, Webster hopes to formalize an internship program to further develop emerging talent, though he cautions that the studio is still pre‑revenue. He cites Criterion’s successful intern initiatives as a model and acknowledges the costs associated with building talent pipelines. Reflecting on a period five or six years ago when the industry was flush with cash, Webster noted that many well‑funded studios launched spin‑offs that quickly discovered how hard it is to run an independent studio.
He argued that funding should target strong teams rather than singular “creative visionaries,” dismissing the myth of the lone genius as “fucking bullshit.” In reality, games are collaborative endeavors. As for Fuse’s next steps, the studio remains flexible. While the launch of Galactic Racer marks a major milestone, Webster says the team is already contemplating future opportunities and directions. “Independent developers today need to be adaptable,” he concluded, emphasizing that the journey has just begun and that the studio will continue to evolve based on market feedback, creative ambition, and the ever‑changing landscape of video‑game development.