Criterion’s outlook today diverges sharply from the image many veteran gamers still hold of the studio. For a generation that grew up with the adrenaline‑fueled, Ronin‑style car chases of Burnout, the name Criterion evokes chaotic high‑speed crashes, a punk‑rock soundtrack, and a wall‑blasting sculpture that once greeted visitors at the Guildford office.
That era cemented the studio’s reputation for delivering pure, unrestrained fun on four wheels, a legacy that later filtered into the Need for Speed series through both Criterion and its sister studio Ghost Games, culminating in the 2022 release of Need for Speed Unbound. A recent visit to the studio, now celebrating its 30th anniversary, revealed a very different scene.
The iconic car sculpture has vanished, and many of the original architects of the Burnout era have moved on. Former VP Matt Webster departed alongside other senior staff to launch Fuse Games, soon to release the Burnout‑inspired Star Wars: Galactic Racer.
Fiona Sperry and Alex Ward founded Three Fields, delivering the demolition‑focused title Wreckreation, with Sperry now heading the successor studio When Tides Turn on its upcoming sequel. A fresh logo, a re‑energised team, and a new strategic direction now define Criterion. In 2023 the studio was officially folded into the EA Entertainment umbrella with a clear mandate: to work on Battlefield.
Initially, EA hinted that Criterion would continue steering future Need for Speed entries, but that franchise is currently on pause. Meanwhile Battlefield has surged to new heights following the massive success of Battlefield 6. Transitioning from racing to large‑scale combat might appear dramatic, yet the studio’s leadership frames it as a natural extension of their AAA pedigree.
Producer Stefan Wittelsbürger told GamesIndustry.biz that Battlefield is now Criterion’s primary focus. “We are a Battlefield studio,” he said. “With Battlefield 6 we delivered key components alongside EA Motive, Ripple Effect and DICE. Criterion has become a vital pillar of Battlefield Studios, and everything we bring—our heritage, expertise, talent, and unique development philosophy—shows up in Battlefield 6.” This isn’t the first time Criterion has touched the Battlefield franchise.
The team contributed to Battlefield 5 (2018) and Battlefield 2042 (2020). Rebecka Coutaz, VP and GM of Battlefield Studios Europe, notes that the studio’s involvement has deepened: “Previously we were brought in late in the cycle; this time we were invited from the start, allowing us to embed our strengths—instant reward, intensity, player‑centric design—throughout the entire development process.” With four studios collaborating on Battlefield 6, it can be opaque which studio handles which element.
Wittelsbürger clarified that Criterion was heavily involved in the single‑player campaign, especially the final two missions, which earned critical acclaim. He added that the studio also worked on core systems such as destruction mechanics, combat fields, weapon handling, hardware integration, and vehicle dynamics. “Everything you see—how soldiers move, how vehicles respond—has our fingerprint,” he explained, emphasizing that the studio’s decades‑long experience informs every layer of the game.
Even as many gamers still associate Criterion with Burnout, the current leadership argues that the same DNA—controlled chaos, high‑octane momentum, and spectacle—remains at the heart of their work. Operations Director Amy Pejic described this as the “Criterion fingerprint”: “The minute‑to‑minute feel, the player momentum, the controlled chaos, the spectacle—those elements from Burnout are a through‑line in everything we deliver now.” She stressed the desire to craft memorable moments that linger in players’ minds for years, just as Burnout did.
Wittelsbürger echoed this sentiment, pointing to the eighth mission of Battlefield 6, Operation Ember Strike, as an example of the studio’s commitment to spectacle: “The SAM destruction, the drone’s subtle vibration, the bomb drops—these are the kinds of experiences we love to create. It’s about delighting players and delivering that sense of awesomeness that defines our fingerprint.” Criterion’s evolution has been gradual rather than abrupt. After Burnout Paradise (2008) the studio shifted toward the Need for Speed franchise, eventually delivering the final title in that line, Need for Speed Unbound.
They also contributed the Firestorm battle‑royale mode to Battlefield 5 and, back in 2006, released the first‑person shooter Black. Wittelsbürger summed up this breadth: “Our varied portfolio shows EA that we can tackle many challenges, which solidified our place within Battlefield Studios.” Today the studio employs 164 people, a stark contrast to the 30‑person team of 2017. Staff are split between Guildford and Wilmslow, with many having spent over a decade at Criterion and bringing experience from other top European AAA studios. The atmosphere during the press visit was upbeat, reflecting confidence in the studio’s role in a major release.
Pejic explained that growth will be driven by project demand: “If we’re supporting a live game, growth may be limited; otherwise we’ll scale where it makes sense.” Wittelsbürger highlighted the studio’s talent pipeline: internships, outreach programs, and a focus on fresh perspectives. “We want the brightest talent, fresh eyes, multicultural viewpoints—creativity thrives on pluralism.
The more diverse the perspectives, the better the product.” Some observers might view Criterion’s journey as a cautionary tale—a once‑independent studio known for innovative, technically ambitious games now subsumed by a large publisher and tasked with a flagship franchise. However, leadership insists the studio remains hungry and enthusiastic. Pejic noted a palpable excitement during the launch of Battlefield 6 and an increasing appetite for “swag” among staff. The studio is actively recruiting early‑career talent, interns, and individuals with unique viewpoints.
Pejic emphasized the importance of challenging the status quo: “After 20 years in game development, it’s disheartening to hear ‘that’s how we’ve always done it.’ Fresh talent helps us question old habits and keep processes healthy.” This blend of legacy and new ideas, she believes, positions Criterion for a vibrant future. Coutaz summed up the corporate ambition: “We want to be a British powerhouse. We’ve always evolved, and as a Battlefield studio, I want Criterion to be regarded as the best studio in the UK.” The combination of a storied heritage, expanding talent pool, and a clear focus on Battlefield suggests that Criterion’s brightest chapters may still lie ahead.