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Gravhounds

Client
Duration: 2024-2026
Made for: Gravhounds, Unreal Engine

Co-Development
End-to-End Art Production
Procedural Environments (PCG)
Characters
VFX
Concept Art
Lighting
Tools

Maya

Early Access 2 NovWishlist on Steam

About this project

A co-development project: one Beffio team on end-to-end art for Octopus Panic's Gravhounds, from concept and environments to characters, technical art, animation, VFX and lighting in Unreal Engine 5. Revealed at Gamescom Opening Night Live in August 2026, in Early Access from 2 November 2026.

15People on the team
7Disciplines in one team
3In-house tools
4LODs per mesh

What we built, in 6 parts

Pick a part

01Procedural worldsProcedural Worlds (PCG) · Custom PCG Nodes (C++)
02Concept to engineEnvironment Concept Art · Vegetation Design
03Vegetation and materialsVegetation Art · Sculpting
04Interiors and interactive propsModular Kits · Interactive Props (Blueprints)
05Characters and weaponsWeapon Design · Hard-Surface Modeling
06Technical animationRigging & Skinning · Animation Blueprints

01Part 1 of 6

Procedural worlds

We built the planets of Gravhounds with Unreal PCG. Custom PCG nodes written in C++ lay out each biome, a cliff tool in C++ and Blueprints builds the rock faces, and a waterfall tool built on PCG adds the water. Level artists then dress and light the result.

How it helped

Whole planets are built by tools instead of by hand, so the team can make more of them and still change them late.

Good fit if

Your game needs large worlds, many biomes or levels that keep changing.

Key services

Procedural Worlds (PCG)
Custom PCG Nodes (C++)
Cliff Tool (C++, Blueprints)
Waterfall Tool (PCG)
Level Art
Set Dressing
Lighting

02Part 2 of 6

Concept to engine

Every planet started on paper. Our concept artists painted the landscapes, designed the plants and tried them out as Blender mockups, so the look was set before production began. Art direction then kept it all the way into the level.

How it helped

Octopus Panic picked a direction early, and the approved concepts carry through to the game.

Good fit if

You need a visual direction set early and held through production.

Key services

Environment Concept Art
Vegetation Design
Art Direction

Spires and acid pools — Two looks for one scene, painted over the same layout. Drag to compare.

Crystals and lava — Two looks for one scene, painted over the same layout. Drag to compare.

03Part 3 of 6

Vegetation and materials

We sculpted the plants, textured them with procedural materials and gave them a wind shader driven by vertex paint. Then we grouped them into biome sets for the PCG system to scatter.

How it helped

Plants share materials and move with one shader instead of animation, which keeps dense fields light.

Good fit if

Your worlds need dense, stylized foliage that moves.

Key services

Vegetation Art
Sculpting
Procedural Materials
Wind Shader (Vertex Paint)

04Part 4 of 6

Interiors and interactive props

The spaceship interiors are built from modular kits. Props the player can use are Blueprints, set up for gameplay, and level art puts the rooms together.

How it helped

Kits on one grid snap together, so new rooms are quick to build, and the props arrive ready for designers to use.

Good fit if

You need hubs, ships or interiors built from kits, with props players can use.

Key services

Modular Kits
Interactive Props (Blueprints)
Prop Art
Level Art

05Part 5 of 6

Characters and weapons

We designed and built the weapons, from the grenade launcher to the marksman rifle, and characters like Zane the Doberman. Hard-surface modeling and PBR texturing for the guns, outfits and groomed fur for the cast.

How it helped

The cast and the arsenal come from one team in one style, so they belong to the same game.

Good fit if

You need hero characters or a full arsenal, from design to game-ready.

Key services

Weapon Design
Hard-Surface Modeling
Character Design
PBR Texturing
Character Art
Outfit Modeling
Fur Grooming

06Part 6 of 6

Technical animation

We rigged and skinned the characters, then set them up in Unreal with Animation Blueprints, IK foot placement and procedural animation.

How it helped

Characters arrive in the engine rigged and ready for gameplay, with feet that land on slopes and steps.

Good fit if

Your characters need rigs and animation set up in the engine.

Key services

Rigging & Skinning
Animation Blueprints
IK Foot Placement
Procedural Animation

Maya

Gravhounds, technical animation, image 1

Built to budget

The technical bar we built to

Art direction sets the look. These set what it costs the engine.

Procedural worlds
Built with Unreal PCG
Biomes are built from rules, so they stay editable to the end.
Modularity
512 cm grid
Kits snap together, so spaces are quick to block out and change.
Asset budget
400 to 9K triangles, 4 LODs
Each mesh has a triangle budget and simpler versions for distance, so dense biomes stay cheap to render.
Efficient texturing
Trim sheets and atlases
Many assets share a few power-of-two textures, which saves memory and draw calls.
Level streaming
Lower memory per map
The world loads in pieces, so a map only keeps what is near the player.
Custom collisions
Hand-made UCX
Simple collision shapes, so players don't snag on detail and physics stays cheap.