Coming soon

About This Game

TILTING — A Noir Poker Career

You start broke at a dive bar. Buy-in's fifty bucks. The felt is sticky and the other players have nowhere better to be.

If you're good, or lucky, the rooms get nicer. The stakes go up. The cities change. Your car changes. The people at the table get harder to read.

• What the game is:

A Texas Hold'em roguelite with career progression across tournament venues and cash games. You manage a bankroll, move between cities, and try not to go bust before the next buy-in.

Full Hold'em hand flow. AI opponents. Eight venues from dive bar to championship stage, each with its own atmosphere and stakes. Character styles that change the look and feel of your run. Travel cutscenes between venues. Persistent career with prestige and tier progression.

! No real money. No microtransactions. No always online gate. No scamming !

• What it isn't:

The AI opponents play reasonable poker and improve with the game, but they're not solving GTO any time soon. This is a solo indie game built with a lot of care and a lot of AI-assisted art. It won't fool a serious poker player into thinking the table is alive, but it might trip you up when the AI tilts you because it got lucky 3 hands in a row.

• Where it's going:

More venues, tougher opponents, and deeper progression mechanics are things I'd like to add. No roadmap, no promises I could fail to deliver on, this is not early access, it's just a game I intend to keep working on if people humor me.

AI Generated Content Disclosure

The developers describe how their game uses AI Generated Content like this:

A note on AI-generated content

Tilting is a solo project. The code, design, gameplay systems, AI opponents, game logic, and writing are entirely my own. The visual and audio content is not. Virtually all of it originated in generative AI tools.

Specifically, AI was used for: store-page artwork (capsules, library art, hero), in-game art (character portraits, card art, venue art, UI elements), achievement icons, music, and sound effects.

My role on the non-code side was overwhelmingly that of a curator — prompting, regenerating, and iterating across different AI tools until the output fit the game's identity. I draw enough to make minor tweaks here and there on individual visual pieces; for the music it was mostly tool-shopping until something landed right. But the volume of art and audio this game ships with is far beyond what I could produce or commission as a solo developer, and the bulk of every non-code asset originated in AI.