Matt Webster’s career once seemed destined to stay within the walls of Electronic Arts. He began his journey with the company back in 1990 and spent almost twenty years contributing to the legendary Burnout and Need for Speed franchises while at Criterion, the studio EA acquired in 2004. However, in early 2023 Webster, together with fellow Criterion alumni Steve Uphill, Pete Lake, Andrei Shires, and Alan McDairmant, decided to strike out on their own and founded the independent UK studio Fuse Games. Three and a half years later the fledgling studio stands on the brink of releasing its debut title, Star Wars: Galactic Racer, a game that will be published by the newly autonomous label Secret Mode.
The timing of Galactic Racer’s launch is noteworthy. It arrives roughly 24 years after the last Star Wars‑themed racing game, 2002’s Racer Revenge, and it does so during a period when traditional racing games have struggled to capture mainstream attention. Amazon recently walked away from a publishing agreement with Maverick Games for its upcoming driving title Clutch, with Amazon Games head Jeff Gattis bluntly stating that the market simply didn’t have room for another racer.
Meanwhile, Criterion, once a powerhouse of arcade‑style car games, has pivoted its focus toward the Battlefield franchise, leaving a noticeable gap in the genre. Despite these signals, Webster remains convinced that a market for a Star Wars racing experience still exists.
“We clearly see an audience for a Star Wars racing game,” he told GamesIndustry.biz. “We’re not the only ones who feel that way, and the feedback we get from our videos and articles suggests we’re not alone.” He argues that video‑game genres are cyclical.
“Shooters dominated for a while, but that doesn’t mean they’re the only viable genre. As more people play games, even the tiniest niches can find a larger fan base.” Webster believes gamers are hungry for "fun, interesting, compelling new experiences that they haven’t seen before," and he feels Galactic Racer delivers exactly that.
The team set out to capture the instant gratification of classic arcade racers while also exploring the possibilities that arise when you are no longer bound by the physics of tires and tarmac. “We have tracks that climb the side of an active volcano,” he explains. “Sometimes the course feels more like a roller‑coaster than a traditional circuit.” Beyond the high‑octane thrills, Galactic Racer aims to upend long‑standing conventions in racing games.
Historically, the genre has revolved around car collection—a formula that has remained largely unchanged for two decades. Webster wants to tear that formula apart and borrow mechanics from other genres.
One of the most radical changes is the introduction of meaningful consequences for crashes. In many modern racers a rewind button erases any penalty, but Fuse wants crashes to matter.
“When you crash too many times you’re sent back to the start, but you keep some meta‑progression,” he says. “That creates tension—when you’re on your last life you start weighing the risk of each maneuver.” The design philosophy draws heavily from roguelike titles such as Hades, Returnal, and Slay the Spire—games built around infinite replayability. "Racing thrives on replay value, so marrying it with roguelike loops feels like a match made in heaven," Webster notes.
The idea is that each run feels fresh, with procedural elements and a persistent progression system that rewards perseverance, even as individual attempts may end in failure. Launching a new IP in a crowded calendar is a bold move, especially with heavyweight releases like GTA 6 slated for November 19. Galactic Racer is set for an October 6 launch, positioning it between the September 24 releases of Control Resonant and Silent Hill: Townfall and the much‑anticipated GTA 6 drop. Webster acknowledges the competitive landscape but points out that crowded release windows are nothing new.
“Back in the day we talked about ‘murderers’ row’ in October—there’s always been a busy season,” he recalls. “We just have a healthy confidence tempered with realism.” The conversation inevitably turns to the wave of layoffs sweeping the industry.
Webster, a veteran with over three decades of experience, reflects on past cycles of downsizing. “Great teams make great games, and great games find an audience,” he says. He observes a current aversion to risk among publishers, which he believes creates opportunities for studios willing to take calculated bets.
“If you’re not willing to risk, you limit yourself and the market loses potential breakthroughs.” Funding an independent studio in 2023 has not been easy. Webster describes the skepticism he faced when announcing Fuse Games: “People said, ‘You’re brave doing an indie studio now.’ I’d spent 32 years at EA in a bubble; this was uncharted territory.” He emphasizes a set of guiding principles: build a strong, motivated team; refine a clear creative vision; accept that plans will evolve; and stay true to core values. By adhering to these tenets, Fuse has managed to keep morale high and maintain a focused development pipeline.
Fuse’s team size is deliberately modest—around 75 core staff—compared with the hundreds typically employed on AAA projects. Rather than expanding and contracting staff repeatedly, the studio relies on external partners to fill skill gaps. This hybrid model blends outsourcing (transactional asset creation) with co‑development (partners integrated into daily stand‑ups, Slack channels, and code repositories). Webster highlights the UK’s mature development ecosystem as a key advantage: “Companies now hire people eager to work across different studios, keeping talent fresh and motivated.” According to Webster, this approach proves that a AAA‑scale game can be produced on a sustainable budget when a small, permanent core team collaborates with 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‑finished product built on Unreal Engine 5—demonstrates the model’s effectiveness. A notable aspect of Fuse’s culture is its blend of veteran expertise and youthful energy.
While several Criterion veterans anchor the studio, many younger developers have been hired, including a producer with no prior game‑development experience. "The young talent we’ve brought in is often smarter and more effective than I was at their age," Webster admits.
He observes that seasoned developers sometimes prefer senior colleagues who need little guidance, which can stifle mentorship. By pivoting hiring practices toward nurturing fresh talent, Fuse hopes to create a dynamic environment where both newcomers and veterans thrive. Looking ahead, Webster envisions establishing an internship program to further cultivate emerging talent, though he cautions that the studio is still pre‑revenue. He draws inspiration from Criterion’s successful intern initiatives and acknowledges the costs involved in talent development.
"You have to go in with eyes wide open and recognize the investment required," he says. Reflecting on the industry’s past focus on “superstar” creators, Webster dismisses the myth of the single visionary as "fucking bullshit." He argues that games are inherently collaborative endeavors, and funding should be directed toward strong teams rather than individual personalities. This philosophy informs Fuse’s future plans: while the studio has ideas for post‑launch content and potential new projects, it remains flexible and adaptable, ready to seize opportunities as they arise. In summary, Matt Webster’s journey from a long‑standing EA veteran to the founder of an agile, forward‑thinking studio underscores a belief that even niche genres can flourish when they evolve, embrace risk, and tap into a growing, diverse player base.
Star Wars: Galactic Racer aims to prove that a fresh take on racing—infused with arcade excitement, roguelike depth, and a collaborative development model—can capture the imagination of gamers hungry for something new, even in a market that often leans toward the familiar.