A bit of aimless noodling

People really have no idea how common this is not just in the film space, but also in the game space. At least Zimmer credits his team, as another commenter has noted. There are far too many who don't. Ghostwriting is very common and if both sides agree to it then fair enough, but there are major power dynamics at play that several 'big-name' composers - in film, and in games - use to make it largely unfair on the person doing the ghostwriting itself and they remain trapped, becuase they need the gig to get paid/survive (usually for absolutely terrible money), but they'll rarely be able to advance their career because it won't be properly credited. There are composers who do it right, and sadly there are a lot who do it wrong. And in response to the quote tweet. The game industry hasn't really been around long enough to have composers that have *truly* lasted as long as Zimmer (or John Williams) has, and composed in multiple styles, have major cultural impact and on large-scale successful titles both commercially and critically acclaimed. There are only a handful of composers in games who could even claim this. There are lots of composers who have had individual hits, but sticking around over decades - and delivering quality - is extremely hard to do. And we should never make the assumption that just because a composer has delivered one hit - means that their subsequent work will be up to standard (and I wish composers were held to a higher standard across the industry and not over-merited based on past work). But truthfully, I'm not sure the original statement matters. Do we really need a Hans Zimmer of the game industry? I'd prefer just to have quality soundtracks that are well implemented year after year, regardless of their source.