Matt Webster’s career began at Electronic Arts in 1990, and for nearly two decades he helped shape iconic racing franchises such as Burnout and Need for Speed while working at Criterion, the studio EA acquired in 2004. In early 2023 he, together with former Criterion colleagues Steve Uphill, Pete Lake, Andrei Shires and Alan McDairmant, left the corporate world to launch an independent studio in the United Kingdom called Fuse Games.
Three and a half years later the fledgling studio is poised to release its debut title, *Star Wars: Galactic Racer*, under the banner of the newly autonomous publisher Secret Mode. The timing of the launch is noteworthy. The last official Star Wars racing game, *Racer Revenge*, hit shelves in 2002 – a full twenty‑four years ago.
Since then, the racing genre has struggled to maintain a mainstream foothold. Amazon recently abandoned a publishing agreement with Maverick Games for the upcoming title *Clutch*, with Amazon Games head Jeff Gattis explaining that the market simply didn’t have room for another traditional racer. Meanwhile, Criterion, once a powerhouse of arcade‑style racing, has pivoted to the *Battlefield* franchise, signaling a broader industry shift away from pure speed‑based experiences.
Despite these trends, Webster is confident there is still demand for a Star Wars‑themed racing game. “We clearly believe there’s an audience for a Star Wars racer,” he told GamesIndustry.biz. “Our community feedback – video views, article reads – suggests we’re not the only ones who think that.” He argues that video‑game genres are cyclical; after a period dominated by shooters, other styles inevitably resurface as the player base expands.
“The more people play games, the larger even the tiniest niches become,” he added. Webster describes the experience he wants to deliver as “fun, interesting, and compelling – something players haven’t seen before.” Fuse Games set out to capture the instant gratification of classic arcade racing while also exploring the creative freedom that comes from shedding the constraints of real‑world tyres and tarmac. “We have tracks that climb the side of an active volcano,” he explained, “it feels like a roller‑coaster at times.” Beyond the visual spectacle, *Galactic Racer* aims to upend long‑standing genre conventions. Traditional racing games have relied on a car‑collection model for roughly two decades.
Webster wants to “rip that up” and borrow mechanics from other genres. One key innovation is the introduction of meaningful consequences for crashes. In many modern racers a rewind button erases any penalty, but Fuse intends to restore risk: repeated crashes will send the player back to the start, though a portion of meta‑progression carries over, granting a more powerful position on the next attempt.
This risk‑reward loop forces players to weigh their aggression against the looming possibility of a game‑over. The design philosophy draws heavily from roguelike titles such as *Hades*, *Returnal* and *Slay the Spire*, which prioritize infinite replayability. “Racing thrives on replayability, so marrying it with roguelike structures feels like a match made in heaven,” Webster said.
By embedding procedural elements, branching pathways and persistent upgrades, the game encourages players to experiment with different strategies on each run, keeping the experience fresh long after the initial launch. Webster acknowledges that releasing a new IP in a crowded calendar is risky, especially with heavyweight titles like *GTA 6* slated for November 19.
*Galactic Racer* is set for an October 6 release, a window that lands after September’s busy slate (including *Control: Resonant* and *Silent Hill: Townfall*) but well before the holiday rush. He notes that the industry has long lived with “murderer’s row” periods where multiple high‑profile games launch simultaneously, and Fuse approaches the market with a “healthy sense of confidence” tempered by realistic expectations. “Good games find a way,” he remarked, echoing a mantra that has guided him through past industry downturns.
Speaking on the recent wave of layoffs, Webster reflects on his own long tenure and the cyclical nature of risk aversion in the sector. He believes that the current climate, which penalizes bold bets, actually opens doors for studios willing to take calculated risks. However, he concedes that securing funding for an independent studio in 2023 has been “a real challenge.” After three decades at EA, he had to relearn how to build a company from scratch, relying on core principles: assembling a talented team, refining a clear creative vision, and maintaining disciplined, adaptable planning. Fuse Games operates with a relatively lean core team of about 75 developers—a deliberate choice to avoid the industry’s typical “grow‑shrink‑grow” cycle.
Instead, the studio leans on external partners for additional capacity, ranging from transactional outsourcing for asset creation to full co‑development arrangements where outside studios sit in on daily stand‑ups, Slack channels and even share the codebase. Webster highlights the United Kingdom’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. This hybrid model, Webster argues, allows a AAA‑scale game to be built on a sustainable budget.
The rapid development timeline – starting Fuse in January 2023 and delivering a finished UE5‑based product in just three and a half years – serves as proof that the approach can work when executed with discipline and shared values. A notable aspect of Fuse’s culture is its emphasis 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 worked in games before. Webster praises this fresh perspective, claiming that younger staff often outperform senior hires in both creativity and efficiency.
He observes that seasoned developers sometimes prefer to work with equally senior colleagues who require minimal mentorship, a dynamic that can stifle growth. By deliberately hiring and empowering younger team members, Fuse hopes to cultivate a pipeline of future leaders. Looking ahead, Webster envisions an internship program to further develop emerging talent, though he admits the studio is still pre‑revenue and must first achieve financial stability.
He references Criterion’s successful intern initiatives as a model and stresses that any such effort must be entered “with eyes wide open” regarding the costs of talent development. Reflecting on the industry’s past obsession with the myth of the singular creative visionary, Webster dismisses it as “fucking bullshit.” He argues that great games are always the product of collaborative teams, not lone geniuses, and that funding should be directed toward strong groups rather than individual star developers. This philosophy underpins Fuse’s collaborative, partnership‑driven workflow.
As for Fuse’s next steps, Webster admits the future is still being charted. The launch of *Star Wars: Galactic Racer* is just the beginning, and the studio remains open to new opportunities and directions. Flexibility and adaptability, he says, are essential for independent developers navigating an ever‑changing market landscape.