Criterion’s outlook today is markedly different from the one that defined its early years. For many veteran gamers, the studio’s name still conjures images of high‑octane, crash‑filled races from the Burnout series – a franchise that blended adrenaline‑pumping car chases with a gritty punk‑rock soundtrack.
Burnout became synonymous with Criterion, so much so that the Guildford office once displayed a dramatic sculpture of a car tearing through a wall as a tribute to the series. That expertise later fed into the Need for Speed franchise, both at Criterion and its sister studio Ghost Games, culminating in the most recent entry, 2022’s Need for Speed Unbound.
During a visit to the studio in its 30th year, the Burnout sculpture was gone and many of the original veterans had moved on. Former VP Matt Webster departed alongside other longtime staff to launch Fuse Games, which is now preparing the Burnout‑infused Star Wars title Galactic Racer.
Fiona Sperry and Alex Ward founded Three Fields and released Wreckreation, with Sperry now heading the successor studio When Tides Turn, working on Wreckreation 2. A fresh logo, a re‑energised team, and a new strategic direction now define Criterion. In 2023 the studio was officially placed under the EA Entertainment umbrella with a clear mandate: focus on Battlefield.
Initially EA indicated that Criterion would continue steering future Need for Speed titles, yet that series has been dormant while Battlefield has surged to new heights following the blockbuster success of Battlefield 6. Transitioning from racing to large‑scale combat may seem like a leap, but the studio’s leadership frames it as a natural extension of their long‑standing AAA pedigree.
In an interview with GamesIndustry.biz, producer Stefan Wittelsbürger emphasized that Battlefield is now the studio’s primary focus. “We are a Battlefield studio,” he said. “With Battlefield 6 we delivered key elements alongside our partners at EA Motive, Ripple Effect and DICE.
Criterion has become a solid pillar of Battlefield Studios, and everything we bring – our heritage, expertise, talent and unique development philosophy – is reflected 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, which oversees both DICE and Criterion, noted a shift in how the studio is now involved. “Previously we were brought in near the end of production. This time we were invited at the very start, allowing us to imprint our strengths from day one – the instant reward, the intensity, the player‑centric focus. Early involvement means a much larger impact than a late‑stage plug‑in.” With four studios collaborating on a single title, it can be opaque from the outside which team does what.
Wittelsbürger clarified that Criterion was “heavily involved” in Battlefield 6’s single‑player experience, especially the final two missions, which received widespread critical praise. He added, “We worked closely on core systems – destruction, combat fields, weapons, hardware, and vehicle handling. Our fingerprints are on how soldiers move, how vehicles behave, and the overall feel of the game.
All of that stems from the decades of experience our developers carry.” Even as many gamers still label Criterion the Burnout studio, current leaders argue that the same DNA that made those chaotic races enjoyable persists in their new work. Operations director Amy Pejic described the “Criterion fingerprint” as a blend of minute‑to‑minute feel, player momentum, controlled chaos and spectacle – elements that still surface in Battlefield 6. “We aim to craft memorable moments that people talk about for years,” she said.
“It’s wonderful that Burnout still resonates, and we want to keep delivering experiences that spark the same kind of conversation.” Wittelsbürger echoed this sentiment, pointing to the eighth mission, Operation Ember Strike, as an example of the studio’s dedication to spectacle: the SAM destruction, the drone’s subtle vibration, the bomb drops – all meticulously tuned to delight players. “Our goal is to evoke that sense of awesomeness,” he explained, noting that this pursuit of delight is a core tenet of Criterion’s development philosophy. The shift from Burnout to Battlefield was not abrupt.
After Burnout Paradise (2008), Criterion spent several years on the Need for Speed line before contributing the Firestorm battle‑royale mode to Battlefield 5. The studio also dabbled in first‑person shooters early on, with the 2006 title Black. Wittelsbürger summed up the studio’s evolution: “We’ve tackled a broad array of projects, proving to EA that we can handle many challenges.
That versatility cemented our place within Battlefield Studios.” Today Criterion employs 164 staff members, a stark contrast to the 30‑person team of 2017. The workforce is split between Guildford and Wilmslow locations, and while no single employee has been with the studio for its entire three‑decade history, several have logged over a decade and bring experience from other top AAA houses across Europe. The atmosphere during the press visit was upbeat, reflecting confidence in the studio’s role within a major live service.
Pejic explained that growth will be tied to project demand: “If we’re supporting a live game, expansion may be limited. As we look ahead, we’ll scale where it makes sense strategically.” Wittelsbürger added that the talent pipeline is expanding through internships, outreach programs and a focus on multicultural perspectives.
“Fresh eyes and diverse backgrounds fuel creativity. The more varied the viewpoints, the better the products we can create.” Some observers might view Criterion’s journey as a cautionary tale of a once‑independent studio being absorbed by a large publisher and redirected toward a flagship franchise. However, the leadership insists enthusiasm remains high. Pejic noted an increase in the team’s “appetite for swag” as a light‑hearted indicator of morale.
“When we launched Battlefield 6, you could feel genuine excitement. The future feels bright, and the team is eager for what’s next.” The studio is actively recruiting early‑career talent, encouraging interns and newcomers to challenge established norms. Pejic, with two decades in game development, warned against complacency: “When someone says ‘that’s how we’ve always done it,’ it often kills good process.” She praised the blend of legacy knowledge with fresh perspectives, calling it a healthy mix for the studio’s evolution. Coutaz summed up the corporate ambition: “We want to be a British powerhouse.
Criterion has always been defined by continuous evolution, and as a Battlefield studio, I truly want Criterion to be regarded as the best studio in the UK. That’s the goal we’re working toward.”