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 developing titles for Criterion, the studio behind Burnout and Need for Speed, which EA acquired in 2004. In early 2023, however, Webster teamed up with former Criterion colleagues Steve Uphill, Pete Lake, Andrei Shires, and Alan McDairmant to launch an independent UK studio called Fuse Games.

Just three and a half years later, the fledgling studio is on the verge of releasing its debut title, *Star Wars: Galactic Racer*, under the banner of the newly independent publisher Secret Mode. The timing of *Galactic Racer* is noteworthy.

The last Star Wars racing game, *Racer Revenge*, hit shelves in 2002—over two decades ago. Since then, the racing genre has struggled to maintain a prominent spot in the market.

Amazon recently scrapped a publishing agreement with Maverick Games for a forthcoming driving title called *Clutch*, with Amazon Games head Jeff Gattis stating that the project didn’t fit the current market landscape. Meanwhile, Criterion, once a powerhouse of arcade‑style racing, has shifted its focus to the *Battlefield* franchise. Despite these signals, Webster remains convinced there is still a hungry audience for a Star Wars‑themed racing experience.

“Clearly we 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 points out that video‑game genres are cyclical. “We went through a phase where shooters dominated, but that’s just one part of the picture. As more people play games, even the tiniest niches can find a larger following.” Webster believes gamers are searching for “fun, interesting, compelling new experiences that they haven’t seen before,” and he feels *Galactic Racer* delivers exactly that.

The studio’s vision was to capture the instant gratification of classic arcade racers while also exploring what is possible when you’re not limited by real‑world physics, tires, or tarmac. “We have tracks that climb the side of an active volcano,” he explains.

“Sometimes it feels like a roller‑coaster.” Beyond the high‑octane thrills, *Galactic Racer* aims to upend several long‑standing conventions of the racing genre. Traditionally, racing games revolve around collecting cars—a formula that hasn’t fundamentally changed in about twenty years. Webster wants to “rip that up and steal from other genres.” One of the most radical changes is the introduction of meaningful consequences for player mistakes. In many modern racers, a rewind button eliminates the penalty for crashing, but *Galactic Racer* reintroduces risk: crash too often, and you’re sent back to the start.

However, you retain a slice of meta‑progression, emerging from the setback with a slightly stronger position. “When you’re on your last allowed crash and you’re in a critical system, you actually start to feel the weight of the risk you’re taking,” he says.

The game’s structure draws inspiration from roguelike titles such as *Hades*, *Returnal*, and *Slay the Spire*—games designed for infinite replayability. “Racing thrives on replayability, so marrying it with roguelike principles feels like a match made in heaven,” Webster notes. This design choice encourages players to experiment, learn from failures, and keep coming back for fresh runs, rather than simply grinding for a single perfect lap. Launching on October 6, *Galactic Racer* lands a month before the highly anticipated *GTA 6* (set for November 19) and shortly after other major releases like *Control: Resonance* and *Silent Hill: Townfall* (both September 24).

Some industry observers warned that September and October are crowded windows, but Webster is unfazed. He recalls past years when “Murderer’s Row” in October was considered a packed schedule, yet great games still found their audience. “We have a healthy confidence tempered by a realistic view of how things might turn out,” he says.

“Good games will find a way.” Webster’s perspective on risk and opportunity is shaped by his long tenure in the industry, which includes witnessing a wave of layoffs and a prior wave of layoffs a decade and a half earlier. He argues that the current climate shows an aversion to risk, creating space for studios willing to take calculated bets. “Great teams make great games, and great games find an audience,” he asserts. “If you’re not willing to risk enough, you limit your opportunities.” Funding an independent studio in 2023 proved challenging.

“People told me I was brave for starting an indie studio now,” Webster recalls. After 32 years at EA, he had to adopt a new mindset. He leaned on core principles: assemble a talented team, refine a clear creative vision, and maintain disciplined planning—while accepting that plans are always imperfect and must be iterated upon. “Engaged and motivated talent makes great things,” he emphasizes, noting that a small, focused team can achieve AAA‑level ambition when paired with the right external partners.

Fuse Games currently numbers about 75 staff—a deliberately modest size for a title of this scope. Rather than inflating and deflating the workforce, the studio relies on a hybrid model of outsourcing and co‑development. Outsourcing handles transactional asset creation, while co‑development brings external studios into the daily workflow, sharing stand‑ups, Slack channels, and code bases. The United Kingdom, with its mature game‑development ecosystem, proves especially conducive to this collaborative approach.

“Companies now hire people who want to work on varied projects with different teams, keeping them fresh and excited,” Webster explains. Webster believes this lean‑core‑plus‑partners model could become a blueprint for sustainable AAA development. “You can deliver a game with AAA scope, scale, and visual fidelity on a more sustainable budget,” he says, adding that the rapid development timeline of *Galactic Racer* validates the approach. “We started Fuse in January 2023; three and a half years later we have a studio, a team, and a game built on Unreal Engine 5—something none of us knew at the start.” Another notable aspect of Fuse’s strategy is its emphasis on nurturing young talent.

While the studio includes veteran Criterion alumni, many of its developers are newcomers to the industry, and one producer had never worked in games before joining. “The young talent we have is smarter and more effective in many ways than I was at that age,” Webster says.

He observes that seasoned developers often prefer senior colleagues who need little guidance, but that dynamic can stifle growth. By deliberately hiring and mentoring younger staff, Fuse aims to create a culture of mutual motivation and learning. Looking ahead, Webster hopes to formalize an internship program, though he admits the studio is still pre‑revenue.

He cites Criterion’s successful intern pipelines as an inspiration and acknowledges the costs associated with developing talent. “You have to go into it with eyes wide open and recognize the investment required,” he cautions.

Reflecting on the industry’s past excesses, Webster recalls a period five or six years ago when abundant funding allowed successful teams to spin off their own studios, only to discover the reality was far tougher than expected. He criticizes the industry’s lingering fixation on the myth of a single “creative visionary.” “That’s bullshit,” he says bluntly. “Games are made by collaborations of individuals.” As for Fuse’s next steps, the studio remains flexible.

While the launch of *Star Wars: Galactic Racer* marks a major milestone, Webster hints that the team is already considering future projects and potential partnerships. “For an independent developer these days, you have to be adaptable,” he concludes.

"We’ll see where the next opportunity takes us, but we’re excited to keep building, learning, and delivering experiences that surprise players."