The Dark Eye: Demonicon

The Dark Eye: Demonicon



Demonicon is an action-RPG for PC, Xbox 360 and PS3 set in the dark and grim setting of the Shadowlands which are part of the popular role-playing universe of “The Dark Eye”.


German Game Developer’s Awards “Best Roleplaying Game 2014”


Best Roleplaying Game 2014







For more pictures visit the official website


About Demonicon


Brief:  Demonicon is an action-RPG  in the dark and grim setting of the Shadowlands which are part of the popular role-playing universe of “The Dark Eye”.

Outline:  50+ people, 5 years , PC, Xbox 360 and PS3 using Vision Engine, Released for PC on 25. October 2013

Developer:  Noumena Studios GmbH

Publisher:  Kalypso Media GmbH

Official Page:

Position:  Junior Level Designer

Time frame (of my involvement):  December 2010 – December 2013 (3 years)


My responsibilities:


Level Design


  • Designing and implementing levels with vForge, the level-editor for the Vision Engine
  • Whitebox – level prototyping
  • Beautification of levels
  • Rework levels to better serve quests, navigation and combats
  • Primary work on Warunk, the settings maincity
  • 5 different city parts each in their own scene
  • Level geometry placement
  • Terrain editing
  • Designing various interiors including e.g. cellars designed to contain traps
  • Trap placement and set up
  • NPC placement
  • Placing and integrating other interactive objects (chests, skill-checks, mechanisms)
  • Optimize Levels for streaming especially on Consoles
  • Setup of “Target Mood Shots” for marketing and internal use

Lua Scripting


  • Scripting the quest-logic in Lua including:
    • Dialog and cutscene integration (logic and staging)
    • Questbook integration
    • Combat scripts and combat integration (wave set up, spawning set up, loot, quest update)
    • Setting save points and ensuring the level consistency on loading them

Workflow Design


  • Establishing Quest Scripting (LUA) Workflow and Learning Documentation for non Programmers including:
    • Creation of a understandable Scripting Api with needed Lua commands for quest and gameplay scripting
    • Definition of Questlogic documentation and scripting conventions
    • Workshops for other employees
    • How to Quest / Combat script
    • How to use our internal Cutscene Tools

Game Design


  • Creation and maintenance of design documents:
  • Design documents concerning world interaction and Exploration including evaluation with Programming
  • Excel tables with e.g. combat and gameplay element placement, savegame lists … etc.
  • yEd graphs for Story and Quest flow
  • Walk-through guides for QA (yEd and Word)
  • Wiki pages for e.g. placed traders, tools and functions (MediaWiki)



  • Obtained the role of one of five Scrum Coaches who streamlined issues for approximately ten coworkers with in their SCRUM Teams
  • Coordinating the own teams needs with other SCRUM Teams
  • Presentation of Teams achievements after each Sprint in Studio Meetings

Environment Art


  • Design Modular Levelasset templates and cooperate with 3D Artists to produce them
  • Optimizing 3D Assets, reducing Triangle count and rework for better instancing

Team efforts


In the last half of Production I mostly worked on Warunk, the main-city of the Shadowlands, where the game takes place. While the rest of the Shadowlands is still very demon-infested, Warunk has been freed, but struggles non the less with food supply and it’s recent past.

Warunk is split into 5 districts and it’s the setting for 2 of the 6 main quest lines (incl. the tutorial) which quite possibly makes it the most complex of all settings. To battle this complexity I worked in tight formation within a small Scrum-team consisting of one other Level Designer, two 3D Artists, an Animator, an Author and up until recently a Concept Artist.

As we all worked on these scenes, the audio-visual part of designing these levels was really a team effort. This also freed some resources for us Level Designers to focus on the structure and implementation of quest-line, to iron out the kinks and implement some of the more complex narrative requirements.

Comments are closed.