The Fat Man - Music for Games The Fat Man - Sounds Incredible
FAQ's 
The Fat Man in "The Ugly Suit"

A:  "Thank you."

Q:  "Why are you called The Fat Man?
You're not fat!"

Louise asks the question
 
    1. For which games have you composed music and/or done sound design?
    2. What is your philosophy for music for games?
    3. What styles of music do you compose?
    4. Can I see your bio?
    5. Um, will you hire me?

For which games have you composed music and/or done sound design?

We've been doing this since 1983 so the list is very long, over 250.  Here are a few of them.
 

Product Name Software Developer
dozens of titles Multimedia Games
much of the Scene It? product line Screenlife
The Incredible Hulk Edge of Reality
Wits & Wagers Hidden Path
Kids Playground games ImaginEngine
GoPets GoPets, Ltd.
Piglet's Big Game (PC) Hulabee/Disney
Dransik Asylumsoft
Mike's Monstrous Adventure Hulabee/Disney
SpongeBob SquarePants - Flying Dutchman Big Sky/THQ
Tux Racer Sunspire Studios
Pajama Sam 3 Humongous
Clue EAI/Hasbro
Cyberstrike: The Clan Wars 989 Studios
Dawn of War Illusion Machines
Qwxyz JW Associates
Tanarus Sony Interactive Studios
WarSport TimeSink
The 7th Guest part 2--The 11th Hour Trilobyte
Wing Commander Origin Systems
The 7th Guest Trilobyte
Putt Putt Goes to the Moon Humongous
Wing Commander II Origin
Putt Putt Saves the Zoo Humongous
US Navy Fighters EA
Advanced Tactical Fighters EA
Master of Orion SimTex
Zhadnost: The Peoples' Party 3DO
Shannara FAR Productions
Master of Magic SimTex
Zombies Ate My Neighbors Lucasfilm Games
Ultima Underworld Blue Sky
NASCAR Racing Papyrus
SEAL Team EA
Loom Lucasfilm Games
Freddi Fish Humongous
Star Trek-25th Anniversary Interplay
Son of MULE Danny Bunten
Marine Fighters EA
This Means War Starjammer/Illusion Machine
Welcome to Bear Country Compton's NewMedia
Windows Sound System Microsoft
General MIDI tones for Yamaha chips Yamaha
Faceball 2000 (SNES) Xanth
Mech Wars SimTex
Indy Car Racing Papyrus
Junior Encyclopedias Humongous
1830 SimTex
Invaders From Glixer: Rescue The Scientists Compton's NewMedia
Berenstain Bears Learn at Home Vol. 2 Compton's NewMedia
Q Bert 3 (SNES) Realtime
Berenstain Bears Learn at Home Vol. 1 Compton's NewMedia
Castles II Interplay
SSN-21 Seawolf John Ratcliff
Chuck Yeager's Air Combat EA
Tony LaRussa II Beyond Software
Castles Interplay
Martian Dreams Origin
Savage Empire Origin
Lexi-Cross Interplay
Rules of Engagement Mindcraft Software
Maniac Mansion (SNES) Realtime
Star Trek: Judgement Rites Interplay
Tony LaRussa's Ultimate Baseball Beyond Software
Defenders of Dynatron City Lucasfilm
Rocketeer (NES) Realtime
LHX Attack Copter EA
Mario Teaches Typing Interplay
Battledroids Lucasfilm
Socks Rocks the House Realtime
Hong Kong Mah Jong 9 Dragons
The Secret Codes of Cypher: Operation Wildlife Tanager
Rocketeer (SNES) ? IGS Realtime
Magic Candle II Mindcraft
Wings 2 Acme Interactive
Q Bert (Gameboy) ?
NBA Basketball Sculptured
Heroes of the 357th ?Midnight
Ultima-Runes of Virtue Origin
Mutanoid Math Challenge Legacy
Mutanoid Word Challenge Legacy
MicroLeague Baseball MicroLeague Sports
Gameboy Double Trouble Ramp EA
Track Meet Interplay
Spellcraft Tsunami
Marvin the Moose John Ratcliff
Total Recall Interplay
Dick Tracy Realtime
Gameboy Dick Tracy Realtime
Funhouse Realtime
RPM Interplay
Frogfoot EA
Might and Magic III New World
Planet's Edge New World
Swords and Serpents Interplay
Rad Gravity Activision
Home Alone (NES) Bethesda
Capture The Flag Sirius
Cybernet Trilobyte
Battle Chess II Interplay
Pools of Darkness SSI
Shadow Sorcerer SSI
Thin Ice Mattel Electronics
Monster Truck Rally INTV
Death Knights of Krinn SSI
Cartel Access
Word Hai Realtime
The Flash Bethesda
Battlecruiser 3000 AD 3000 AD
Hard Nova EA
Buck Rogers II SSI
Omar Sharif on Bridge Interplay
Arrow Realtime
Super Pro Pool Billiards Realtime
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What is your philosophy for music for games?

   On August 20, 1995, George wrote what we refer to as our "Manifatso."  Here it is.

   Multimedia is a frontier for music.  Along with the Internet, Multimedia will become important in a way that is historically significant, for tremendous numbers of opportunities for, and different and new ways of listening to, creating, and interacting with music.

   As the settlers come to this frontier, it is incumbent upon us pioneers to make sure that this becomes a place that is free and open for musical expression.  It is Team Fat's intention that the music in this place be expressive, touching, and made for the sake of the human spirit, not repetitive, imitative, mechanical by convenience, nor needlessly enslaved by styles imposed by fashion or limited machinery.

   The musical precedents we set, and the tools we use and help create, the clothes we wear, the cars we drive, and the things we say should all promote this vision.

[note: In January, 1995, there were 71 thousand internet domains. In January, 2007, there were over 433 million. (source: Internet Systems Consortium). The Internet was still relatively new and computer games were classified as "multimedia".]

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What styles of music do you compose?

   All styles.  No, really!  We do what is called for in each product we work on.  Sometimes it's world beat, sometimes it's race-car rock 'n' roll, sometimes it's a bouncy children's tune with catchy lyrics, sometimes it's a complicated orchestral piece, or "surf music for a communist game show."  Whatever the client wants, combined with what will provide the listener with the richest artistic and emotional experience, we do.

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Can I see your bio?

The Fat Man--Music and Sound Design for Games

The Fat Man, George Alistair Sanger, has been creating music and other audio for games since Thin Ice for Intellivision in 1983, which means that, with only one known exception, he has been in that business longer than anyone else. He is internationally recognized for having contributed to the atmosphere of well over 250 games, including such sound-barrier-breaking greats as Loom, Wing Commander I and II, The 7th Guest I and II, NASCAR Racing, Putt-Putt Saves the Zoo, and ATF. He was recording orchestral instruments for games as early as 1992, and shoving lyrics, music videos, and digital recordings into games wherever they would fit, often volunteering to do the more advanced work for free in order to raise the quality of the player's gaming experience. He created the first General MIDI soundtrack for a game, the first direct-to-MIDI live recording of musicians, the first redbook soundtrack included with the game as a separate disk, the first music for a game that was considered a "work of art," and the first soundtrack that was considered a selling point for the game. Most of this was done alongside his friends, the three other composers of Team Fat. For several years, Team Fat's music and sound effects dominated the American PC scene. Musicians were frequently directed by their employers to imitate Sanger's work rather than that of artists in other media--a phenomenon that resurfaced recently with the sound design Sanger has done for slot machines.

Sanger joined as the 21st member of the IGDA in 1994. In 1991, at the first GDC awards show ever, the audio award went to Sanger's Wing Commander. Sanger established the first audio column in Game Developer magazine in 2001. Sanger was honored with the 2007 Developers' Choice award for Community Contribution.

Sanger is on the board of advisors for Game Developer Magazine, and Full Sail's Game Development Degree program. He is on the Board of Directors of the BEAM Foundation.

On the edge of the Canyon of the Eagles over the Colorado River, The Fat Man hosts the annual Texas Interactive Music Conference and BBQ (Project Bar-B-Q), the computer/music industry's most prestigious and influential conference.

Based on 11 successful years of influencing and galvanizing the audio and technical community at BBQ, in 2006 Sanger hosted the first Project Horseshoe, an intense think-tank aimed at solving game design's toughest problems.

Sanger was deeply inspirational in the founding of Game Audio's professional organization, the Interactive Audio Special Interest Group (IASIG).

He worked for many years with the IASIG to establish a compatibility spec for General MIDI. He also established Fat Labs, which tested GM hardware and software in order to create the best possible experience for listeners. For a while, you couldn't sell a GM chip to a Taiwanese manufacturer without the "Fat Seal of Approval."

In 1995, he was the first music producer to be accepted into the National Recording Academy based on his work in games rather than in CD's, film, or movies. He worked toward the goal of establishing a Grammy category for games, first alone, then years later in the group led by Chance Thomas that achieved this goal.

At developer conferences, Sanger hosted "Demo Marathons" to allow game producers to be exposed to the music of many musicians from all over the world in a single sitting. His writings in his Music and Computers Magazine column, "Ride the Wired Surf," were meant to promote ideals and attitudes that would lead to better music on computers.

OR

   The Fat Man is a big-hearted alien who wears the skins of cowboy heroes whose bodies he has found in the desert.  He finds it to his liking to hover over Austin in a huge radar-cloaked zeppelin, composing music for games with his legendary team of Cowboy Composers, Team Fat.  His work on hit games has more than once changed the face of game music.  People Magazine called him "a top candidate for the most prolific--and obscure--living American composer," yet as he consumes only ammonia and uncooked brown rice, his rates remain reasonable, and he is very well-behaved.

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Um, will you hire me?

   We have been working with the same team of composers for over ten years and we just never seem to need more help than that.

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Last update 3/27/08