Matt Webster’s career once seemed destined to stay within the walls of Electronic Arts. He began his tenure in 1990 and spent nearly twenty years contributing to the Burnout and Need for Speed franchises while at Criterion, the studio EA acquired in 2004.
Yet in early 2023, Webster, together with former Criterion colleagues Steve Uphill, Pete Lake, Andrei Shires and Alan McDairmant, decided to leave the corporate behemoth and launch an independent studio in the United Kingdom called Fuse Games. Just over three years later, Fuse is on the brink of releasing its debut title, *Star Wars: Galactic Racer*, which will be published by the newly autonomous label Secret Mode.
The timing of *Galactic Racer* 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 racing games have generally lost some of their mainstream appeal.
Recent industry moves underscore this trend: Amazon abandoned a publishing agreement with Maverick Games for the upcoming driving title *Clutch*, with Amazon Games head Jeff Gattis stating that the project didn’t fit the market. Meanwhile, Criterion itself has shifted focus away from racing toward the *Battlefield* franchise. Despite these signals, Webster remains convinced that a market exists for a Star Wars racing experience.
“We clearly see an audience for a Star Wars racing game,” he told *GamesIndustry.biz*. “Our community of video‑content watchers and readers suggests we’re not alone in that belief.” He argues that genres are cyclical; while shooters have dominated the past decade, other types of games periodically rise again. As the overall player base expands, even the most niche interests can find a sizable following.
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 studio set out to capture the instant‑gratification feel of classic arcade racers while also exploring what can be done when a game is no longer limited by 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* intentionally subverts several long‑standing conventions of the racing genre. Traditionally, racing games have relied on a car‑collection model that has changed little in two decades. Webster wants to tear that model apart and borrow mechanics from other genres.
One key innovation is the introduction of meaningful consequences for crashing. In many modern racers, a rewind feature eliminates risk, but Fuse re‑introduces stakes: too many crashes send the player back to the start, though some meta‑progression carries over, placing them in a stronger position for the next attempt.
This risk‑reward loop forces players to weigh their actions, especially when they are on their final allowed crash. The design philosophy draws heavily from roguelike principles found in games such as *Hades*, *Returnal* and *Slay the Spire*.
Those titles prioritize infinite replayability, a quality that dovetails naturally with racing, which thrives on repeated runs and incremental improvement. By blending roguelike progression with high‑speed competition, Fuse hopes to create a "match made in heaven" that keeps players returning for fresh runs. Launching in a crowded calendar adds another layer of challenge.
*Galactic Racer* is slated for release on October 6, positioned between the blockbuster *GTA 6* (set for November 19) and other major titles like *Control: Resonance* and *Silent Hill: Townfall* (both dropping on September 24). Webster acknowledges the intensity of the pre‑holiday window but points out that the industry has weathered busier schedules before.
“People used to call September ‘murderers’ row’ and October was always packed,” he says, noting that Fuse approaches the market with a “healthy sense of confidence” tempered by realism. The conversation inevitably turns to the broader industry climate, especially the wave of layoffs that has swept through major publishers. Webster, a veteran of two decades, recalls a similar contraction fifteen years ago.
He observes that great teams produce great games, and great games find audiences, but today there is a pervasive aversion to risk. This caution creates openings for studios willing to take calculated bets and push boundaries. However, securing funding for an independent studio in 2023 proved difficult. “People said, ‘You’re brave starting an indie studio now,’” Webster recalls.
After thirty‑two years at EA, he had to adapt his long‑standing principles: build a strong, motivated team; refine a clear creative vision; accept that plans will evolve; and stay true to core values. Fuse operates with a relatively lean core—about 75 staff members—by design.
Rather than expanding and contracting staff in response to project phases, the studio leverages external partners to fill skill gaps. This hybrid model ranges from transactional outsourcing for asset creation to full co‑development arrangements where external studios attend daily stand‑ups, participate in Slack channels, and contribute directly to the codebase. Webster highlights the UK’s mature development ecosystem as a fertile ground for such collaborations, noting that today many studios willingly share talent across projects, keeping developers engaged and fresh. According to Webster, this approach demonstrates that a AAA‑scale game—measured by scope, visual fidelity and production ambition—can be delivered on a sustainable budget when a small permanent team is augmented by trusted partners.
The rapid development timeline of *Galactic Racer* underscores the model’s viability: Fuse was founded in January 2023, and within three and a half years the team built a studio, assembled a crew, learned Unreal Engine 5 from scratch, and produced a full‑featured title. A notable aspect of Fuse’s composition is its blend of veteran expertise and youthful energy. While many of the core members are former Criterion staff, the studio also hired numerous younger developers, some of whom had never worked in games before. One producer, for instance, entered the industry straight from a non‑gaming background.
Webster praises this infusion of fresh talent, stating that younger team members often bring a level of intelligence and effectiveness that surpasses his own capabilities at that age. He argues that nurturing junior talent can be more rewarding than relying solely on seasoned developers who may prefer working in isolation.
Looking ahead, Webster hopes to formalize an internship program to further cultivate emerging talent, though he acknowledges that Fuse is still pre‑revenue. He points to Criterion’s successful intern pipelines as an aspirational model, while also recognizing the cost and commitment required to develop newcomers. Reflecting on a period when the industry was flush with capital, Webster recalls how many successful teams received funding to spin off into independent studios, only to discover that building a sustainable business is far tougher than it appears.
He criticizes the lingering industry fetish for a single “creative visionary,” calling it “bullshit.” In his view, games are collaborative creations, and the focus should shift from glorifying lone geniuses to empowering strong, cohesive teams. As for Fuse’s next steps, the future remains fluid. While the launch of *Star Wars: Galactic Racer* marks a significant milestone, the studio is already contemplating subsequent projects and potential collaborations.
Webster emphasizes that independent developers must stay adaptable, ready to pivot based on market conditions and creative opportunities. In his words, “Good games will find a way, and we’re hoping ours does too.”