After four games, Ghost Games is released from looking after the Need for Speed series. Criterion takes over again. The Swedish studio Ghost Games will instead operate again as EA Gothenburg and take on a role as a technology hub for the publisher’s studios – in other words, to help other developers.
The studio’s technology experts therefore remain in Sweden, reports Games Industry, Some are “architects of the Frostbite engine”, which is now used in almost all EA games, and therefore “indispensable for a number of current projects”. Other employees who were creatively involved in game development will, if possible, be offered jobs at Criterion or other EA studios.
Talent is lacking
It is no coincidence that Criterion will be working on Need for Speed in the future. The studio was responsible for the successful burnout series and has participated in numerous racing games, so undoubtedly has expertise. Need for Speed: Most Wanted from the year was also penned by the British – and in a broader sense was a copy of Burnout Paradise. This expertise in the genre was also passed on to Ghost Games through some employee transfers.
There are concrete reasons why the former former Need-for-Speed supervisors could not continue the series weddings: It is difficult for them to have a “wide range of talented employees” who would be required to operate a Triple-A studio, The publisher justifies winning for the location in Sweden. At Criterion in Guildford, UK, which the Guardian has already referred to as the “Hollywood of video games”, this should become easier due to the densely packed studios.
Four games are bad enough
Looking forward to creating a great future for the series, EA closes to Games Industry. This can also be understood as a comment about the current state, which is by no means great. Although there has been a qualitative increase in games from Sweden in recent years, it was not enough for Need for Speed Heat in 2019 for more than Metacritic user ratings in the range of five out of ten possible points.
Older parts received disastrous ratings. Rivals, for example, drew criticism for its always-online mode with no pause function and a limitation of 30 frames per second, Need for Speed (2015) (test) attracted attention due to all sorts of negligence and a video presentation on foreign embarrassment, the payback Part with a minimal story. It wasn’t always the very interesting ideas, but the concrete implementation and playful monotony that prevented better ratings.