The Curator

Between 2019 and 2022, at AJST Kélibia, I learned astronomy: nights spent finding shapes in scattered points of light, then working out why they move the way they do. It never left. Engineering, writing and game design turned out to be the same exercise at different scales.

I'm a final-year engineering student at INSAT in Tunis, in Instrumentation & Industrial Maintenance with the AI & Aerodynamics option. Sensors, control loops, machine learning. That part is measurable.

The Other Half

The rest is writing. I have written for years, in English, Arabic and Tunisian dialect: poems, prose fragments, the ongoing Notes From A Cell, and longer essays on football and culture. The published part lives under the name Bleed'Ink Raven. I live between the lines, the way a heart lives between its beats. Every book is a life, every line a new beginning, and every word I write brings me back to myself. I am nothing but a child of words, a soul born of paper. I read to breathe, and I write to stay alive.

The games come from the same place. I design horror that speaks through sound, space and silence, and I'm building one of my stories, piece by piece, in Unreal Engine.

One Standard

Both halves answer to the same rule: a system should not pretend. At Sofrecom in 2026, that meant an AI assistant that quotes the official answer when there is one, writes from cited documents when there isn't, and asks when neither fits. It was evaluated on thousands of questions and handed over to the company's development team. At Valeo in 2025, it meant walking an assembly line until its risk analysis described the process as it actually runs.

In a story, the rule is the same. The world may be cruel. It shouldn't cheat.

The Path So Far

1. 2023Star-Mapped Labyrinth, a 2D maze whose only guide is the sky, where you trace constellations to find the way out.
2. 2024–2025House of the Dead, a prototype and an idea document in 2024, then a game built in 24 hours in Unity at the PlayGround game jam in February 2025: a house where every door leads back to the same room.
3. 2024Maris Nocturne, a horror game designed with no interface at all: you steer a derelict ship through an endless night by sound and stars.
4. Since 2024Pale Quill, a narrative 3D game in Unreal Engine 5: its world, story and game design are written in full, and Chapter 0 is its demo.
5. 2025A gamified door lock on Arduino, with keypad access levels and puzzle mini-games: the first object that brought what I study and what I love together.
6. 2025A machine-learning course project, scraping IMDB into regression models and a Plotly Dash dashboard: the first data pipeline that was mine end to end.

The Toolbox

• Intelligence: retrieval-augmented generation, local LLMs and embeddings (SOF'CHAT); LSTM forecasting and Q-learning (Hestia); Python, PyTorch, TensorFlow, scikit-learn
• Hardware: ESP32 with FreeRTOS, Arduino, MQTT
• Software: Python backends (FastAPI, Flask), SQLite, automated testing; this site, in Next.js
• Worlds: Unreal Engine 5, Unity, Blender
• Industry: process FMEA (AIAG-VDA), SolidWorks, CATIA
• Words: poetry, prose and essays (English, Arabic, Tunisian dialect); game design documents; narrative design

Off the Clock

• The PlayGround 24-hour game jam and the DataQuest AI hackathon
• IEEE INSAT, the INSAT Android Club and JCI Hammam El Ghezaz
• Astronomy, since AJST Kélibia (2019–2022) and still: the reason this site is drawn in constellations
• Football, which I write about more than is probably reasonable, and have started teaching a machine to read
• Languages: Arabic, French, English. I studied in French, and much of what I know I learned in English.