Matt Webster’s career once seemed destined to stay within Electronic Arts. He began at EA in 1990 and spent almost twenty years at Criterion, the studio behind Burnout and Need for Speed, which EA acquired in 2004. In early 2023, however, Webster, together with fellow Criterion alumni Steve Uphill, Pete Lake, Andrei Shires and Alan McDairmant, departed to launch the independent UK studio Fuse Games. Just over three years later the fledgling company 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 the racing genre has generally receded from the spotlight. Amazon recently abandoned a publishing agreement with Maverick Games for its upcoming driving title Clutch, with Amazon Games head Jeff Gattis remarking that the market simply didn’t seem to fit the game.
Meanwhile Criterion, once a stalwart of arcade‑style racers, has pivoted to the Battlefield franchise. Despite these signals, Webster is convinced there remains a viable audience for a Star Wars racing experience. “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 adds that genres tend to be cyclical: “We went through a phase where shooters dominated, but that’s not the only genre.
As more people play video games, even the tiniest niches can find a larger audience.” Webster believes players are craving “fun, interesting, compelling new experiences they haven’t seen before,” and he feels Galactic Racer delivers exactly that. The studio set out to capture the instant gratification of classic arcade racers while also exploring what can be done when developers are no longer tied to realistic tyres and tarmac. “We have tracks that climb the side of an active volcano,” he explains. “It feels like a roller‑coaster at times.” Beyond the high‑octane thrills, Galactic Racer seeks to upend long‑standing conventions of the racing genre.
Traditionally, racers have relied on a car‑collection model that has persisted for roughly two decades. Webster wants to tear that formula apart and borrow mechanics from other genres. One key innovation is the introduction of meaningful consequences for crashing.
In many modern racers, a rewind button erases penalties, but Fuse intends to re‑introduce risk: “If you crash too many times, you’re sent back to the start, though you retain some meta‑progression that puts you in a stronger position. That last crash forces you to weigh risk versus reward.” The game’s design is also inspired by roguelike titles such as Hades, Returnal and Slay the Spire, which emphasize infinite replayability.
“Racing thrives on replayability, so marrying it with roguelike principles feels like a match made in heaven,” Webster says. Each run offers procedural variations, encouraging players to experiment and improve over successive attempts.
Releasing Galactic Racer on October 6 places it 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. Webster acknowledges the crowded calendar but points out that the industry has weathered busier windows before. “People used to call September ‘murderers’ row,’ and October was packed as well.
We have a healthy confidence tempered by a realistic view of how things might turn out.” The conversation turns to the broader industry climate, especially the wave of layoffs that has swept through major publishers. Webster, who has witnessed a similar downsizing period fifteen years ago, notes that great teams produce great games, and great games find audiences. He argues that a prevailing aversion to risk is limiting opportunities, and that studios willing to take calculated bets can thrive.
Funding an independent studio in 2023 has been challenging. After three decades at EA, Webster found himself stepping out of a “bubble.” He emphasizes the importance of building a strong, motivated team, refining a clear creative vision, and remaining adaptable. “The plan is always wrong, but it’s the best version you have today. Review, adapt, and stay true to your values,” he advises.
Fuse Games operates with a relatively small core team of about 75 people, a deliberate choice to avoid the industry’s typical pattern of rapid expansion and contraction. Instead, the studio leans on external partners for additional capacity. “We’re not doing the grow‑shrink‑grow‑shrink cycle,” Webster explains.
“Our model could become the future for AAA development: a lean permanent team supplemented by trusted partners who share our values.” External collaboration at Fuse ranges from transactional outsourcing—where partners produce assets—to full co‑development, where outside studios join daily stand‑ups, Slack channels, and even the code base. The UK, with its mature game‑development ecosystem, proves especially conducive to such partnerships. “In the past, other companies helped you only because they needed the cash. Now they’re eager to work on diverse projects, keeping their talent fresh and excited.” The rapid development timeline of Galactic Racer showcases the viability of this approach.
Fuse was founded in January 2023; three and a half years later the team has built a studio, assembled a game on Unreal Engine 5—a technology none of them originally mastered—and done so in a sustainable manner. A notable aspect of Fuse’s workforce is the infusion of young talent. Many of the developers, including one producer who had never worked in games before, are fresh faces.
Webster praises their performance: “They’re smarter and more effective in many ways than I was at that age. We’ve had greater success with our young developers than with some senior hires.” He observes that seasoned veterans often prefer working with equally senior colleagues, which can limit mentorship opportunities. By nurturing younger staff, Fuse creates a more dynamic and motivated environment. Looking ahead, Webster hopes to formalize an internship program, though the studio remains pre‑revenue.
He cites Criterion’s successful intern pipelines as a model and acknowledges the costs associated with developing talent. Reflecting on a period when the industry was flush with cash, he notes that funding often went to “superstar” developers rather than solid teams, and that the myth of the singular creative visionary is “complete bullshit.” Games, he asserts, are collaborative endeavors.
As for Fuse’s next steps, the studio remains flexible. While the launch of Galactic Racer is just the beginning, the team is open to exploring new opportunities and ideas. “We have concepts for where we want to go next, but as an independent developer you have to stay adaptable,” Webster concludes.