Matt Webster’s career once seemed destined to stay within the walls of Electronic Arts. He entered the company in 1990 and spent almost twenty years contributing to the iconic Burnout and Need for Speed series while they were under the Criterion banner, a studio EA acquired in 2004. In early 2023, however, Webster, together with fellow Criterion alumni Steve Uphill, Pete Lake, Andrei Shires and Alan McDairmant, decided to strike out on their own and launch the independent UK studio Fuse Games.
Roughly three and a half years later the fledgling studio is poised to release its debut title, *Star Wars: Galactic Racer*, which will be published by the newly autonomous label Secret Mode. *Galactic Racer* arrives roughly 24 years after the last Star Wars‑themed racing game, 2002’s *Racer Revenge*. In the intervening decades the racing genre has lost much of its mainstream momentum.
Amazon recently walked away from a publishing agreement with Maverick Games for the upcoming driving title *Clutch*, with Amazon Games head Jeff Gattis stating, “we didn’t see a real fit in the market for that game.” Meanwhile Criterion, once a powerhouse of arcade‑style racers, has shifted its focus to the *Battlefield* franchise. Despite this apparent decline, Webster remains convinced that a market exists for a Star Wars racing experience.
“We clearly believe there’s an audience for a Star Wars racing game,” he told GamesIndustry.biz. “We’re not the only ones who think that, and the reaction to our videos and articles suggests we’re not alone.” He points out that genres tend to be cyclical.
“We went through a phase where shooters dominated, but that’s not the only cycle. As more people play video games, even the tiniest niches can find a larger fanbase.” Webster says players are craving "fun, interesting, compelling new experiences that they haven’t seen before," and he feels *Galactic Racer* delivers exactly that. The studio’s vision is to create something fresh, marrying the instant gratification of classic arcade racers with the freedom that comes from being untethered to realistic tyres and 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, the game deliberately subverts traditional racing conventions. Most racers rely on a car‑collection model that has stayed largely unchanged for two decades.
Webster wants to tear that apart and borrow mechanics from other genres. The title incorporates consequential decision‑making, especially around crashes. In many modern racers a rewind button eliminates penalty, but *Galactic Racer* reintroduces risk: crashing too often sends you back to the start, though you retain some meta‑progression that puts you in a stronger position for the next run.
This blend of risk and reward is inspired by roguelike titles such as *Hades*, *Returnal* and *Slay the Spire*, games designed for infinite replayability. "Racing thrives on replayability," Webster notes, "so pairing it with roguelike loops feels like a match made in heaven." The design choice to impose real consequences on crashes is a bold departure from the hand‑holding typical of many AAA releases. Webster acknowledges the challenge of standing out in a crowded market, especially in a year slated for the launch of *GTA VI*.
*Galactic Racer* is set for an October 6 release, comfortably before *GTA VI*’s November 19 debut, but after other major titles such as *Control: Resonance* and *Silent Hill: Townfall* on September 24. He notes that busy release windows are nothing new; “September looked busy then, but October used to be called ‘murderers’ row’ because it was packed with big releases.” Fuse Games approaches the competition with a “healthy sense of confidence” tempered by realism.
Webster reflects on industry layoffs and the broader climate, recalling a previous wave of cuts about fifteen years ago. He observes that great teams make great games, and great games find their audience.
Yet he also sees a prevailing aversion to risk in the current environment, which creates openings for studios willing to take calculated bets. "If you shy away from risk, you limit opportunity," he says.
Starting an independent studio in 2023 has not been smooth sailing. Securing funding proved difficult; many questioned the wisdom of launching a new studio after a 32‑year tenure at EA. Webster’s answer was to lean on core principles: assemble a talented team, refine a clear creative vision, and maintain disciplined planning while staying adaptable.
He emphasizes that an engaged, motivated team is the engine of quality output. Fuse Games remains relatively small for a project of AAA scope, with roughly 75 core staff.
This size is intentional. Rather than expanding and contracting the team—a common industry pattern—Fuse relies heavily on external development partners to fill gaps.
The studio uses a spectrum of external collaboration, from transactional outsourcing for asset creation to full co‑development where partner studios attend stand‑ups, join Slack channels, and contribute directly to the codebase. Webster highlights the UK’s mature development ecosystem as ideal for such partnerships, noting a cultural shift from reluctant, self‑preserving collaborations to enthusiastic, value‑aligned teamwork.
According to Webster, this hybrid model enables a studio to deliver AAA‑level scope, scale and visual fidelity on a more sustainable budget. The rapid development timeline of *Galactic Racer*—starting Fuse in January 2023 and delivering a finished product in just three and a half years—demonstrates the model’s viability.
The team built a game on Unreal Engine 5 despite none of them having prior experience with the engine, a feat Webster describes as an achievement accomplished in a “healthy, sustainable way.” A notable aspect of Fuse’s workforce is the infusion of young talent alongside veteran Criterion alumni. One of the producers on *Galactic Racer* had never worked in games before joining the project. Webster praises the younger developers, stating they often outperform older colleagues in speed, creativity, and effectiveness. He argues that focusing solely on senior hires can be counterproductive; nurturing emerging talent not only motivates the newcomers but also reinvigorates seasoned staff.
While an intern program is still in the planning stages, Webster hopes to emulate the successful internship pipeline that Criterion once operated, acknowledging the upfront costs of talent development. Looking back to the era when the industry was flush with cash—about five or six years ago—Webster recalls how many successful developers were given funding to start their own studios, only to discover the reality was far tougher than expected.
He criticizes the industry’s lingering fascination with the “lone creative visionary” myth, calling it “bullshit.” In his view, games are always the product of collaborative effort, not solitary genius. As for Fuse’s future, Webster admits plans are still taking shape. The launch of *Star Wars: Galactic Racer* is just the beginning, and the studio remains open to discussing new opportunities and directions.
He emphasizes that independence requires flexibility and adaptability, especially for a small team navigating a volatile market. "We have ideas about where we want to go next, but we have to stay agile," he concludes.