The happiest man in gaming hates generative AI

Tarn Adams, co-creator of Dwarf Fortress, describes himself as the happiest man in gaming, driven by the endless creative possibilities of the procedurally generated world he and his brother Zach have built since 2002. His enthusiasm peaks when discussing the latest Myth and Magic update, which introduces complex, chaotic magic systems tied to cosmological lore. Adams emphasizes the depth and unpredictability of these systems, which allow for intricate interactions within the game’s world. Despite his love for procedural generation, he expresses unease about the industry’s rush toward generative AI, which he argues often produces bloated, inefficient code.

Adams rejects generative AI for Dwarf Fortress, citing concerns about productivity and the integrity of the game’s design. He highlights the inefficiency of AI-generated code, noting that it can overwhelm players’ computers and fail to meet the game’s standards. While he acknowledges the potential pressure from platforms like Microsoft to adopt AI tools, he remains steadfast in his opposition. His focus remains on expanding Dwarf Fortress with features like economic simulations and boats, which he believes will further enrich the game’s depth and player creativity.

Dwarf Fortress transitioned from text-based graphics to a graphical tileset in 2022 upon its Steam release by Kitfox Games, a move Adams says was driven by player demand. The Steam launch proved highly successful, with nearly 500,000 copies sold in the first month and over 1 million by April 2025. The game’s community has since driven remarkable innovations, including player-created computers within the game, such as a vampire-powered operating system. Adams notes that these creations emerge organically from the game’s modding tools, which are written in Lua and fully customizable by players.

Adams acknowledges that Dwarf Fortress has generated significant revenue, though not enough to fund major expansion beyond covering essential costs like healthcare and salaries for artists and audio staff. The game’s business model remains free updates and a one-time purchase priced at US$30, a figure Adams acknowledges is increasingly modest. With around 15 people now working on the game, including a core team and external contributors, Adams hints at the need for future monetization strategies to sustain development. He reflects on the challenges of balancing community support with the need to attract new players in a post-Patreon era.