Cheng Yi - Chinese Warrior Girl

Put Cheng Yi in a scene and the first thing you notice is how easily she comes apart. The armor can be removed, the hair swapped, the outfit layered over her body or taken off entirely. She can be dressed, partially dressed, or stripped down to a bare body, depending on the shot or gameplay situation. That modularity is the core design: every part can be toggled or removed, so the character can be reshaped for whatever role she needs to play. She is not a single locked mesh; she is a kit of pieces that just happens to look like one warrior girl.

The character is fully rigged from the ground up. The rig uses the UE4 Mannequin skeleton as its base, with the main bone hierarchy left untouched to make retargeting straightforward. Additional bones are included so you can apply physics to specific parts, and the rig was made in Maya without plugins, meaning it does not depend on any specialized toolset inside that software. It also has no controls—just a clean skeleton ready for animation. Animators who prefer working directly with bones will find this predictable, while teams that expect a control rig will need to adapt.

A Body Sliced for Clothing and Morphs

The slicing is deliberate. To keep clothes from intersecting with the body, the mesh is cut into pieces; the sections hidden under clothing are meant to be turned off, which also cuts the polycount. The character has no LOD system, but the modular pieces give you a practical way to optimize the silhouette for different camera distances. The base counts are 36,104 faces, 65,599 triangles, and 35,441 vertices. Two hairstyles are included, and body morphs let you adjust breast, butt, and nail size as well as hair length. Clothes can be removed completely, and a full body is present under them. Keep in mind that the body texture is censored and adult parts are not modeled—only a plain texture exists there. The spear seen in the promo images is also not part of the asset, so any weapon work is on you.

Rig Stability Across Animation Sets

On the animation side, the rig has been tested with a long list of third-party animation systems. ALSv4, third-person standard animations, Female Interactions Animations, Mocap Library, ARLS + Horse Animset, Succubus AnimSet, Valley of the Ancient, Close Combat: Swordsman, and Lyra Starter Game all work with the skeleton. That list covers locomotion, combat, horseback, and interaction contexts, so the skeleton has been stress-tested in different movement scenarios. You can retarget her into projects shaped by those systems without expecting major distortion. The additional bones are documented, and because the main hierarchy is untouched, you can treat her like any other UE4 Mannequin character when you drop in animation packs.

Apple Blendshapes for Facial and Performance Work

The head is just as modular as the body. Cheng Yi comes with 52 Apple Blendshapes, tested with Live Link Face in Unreal Engine 5. This opens the character to live-stream facial animation, FaceWare, facial mocap, VTuber avatars, VRChat, and MMD. A morph target setup feeds the blendshapes, and the body morphs also work as part of the facial system—hair length can be changed without breaking the rig. For real-time performance, the calibrations are already there, so you can drive her face directly from Live Link Face data. The 52 shapes are calibrated, not just provided, which makes them predictable when you start capturing.

Material ID Maps and 4K Texture Sets

Visually, Cheng Yi is shaped by 4K textures organized into eight sets: Body, Head, Teeth, Hair, Eyes, Lashes, Clothes, and Armor. Every set includes BaseColor, Normal, Roughness, Metallic, Ambient Occlusion, MatID, opacity, and emissive maps, with textures packed for better optimization. Opacity is useful for hair and thin fabrics, while emissive can handle glowing accents on armor or clothing. The Material ID map can change colors on the BaseMap separately, so you can recolor skin, eyes, hair, or outfit parts through Material Instances instead of manually editing the texture. That is a direct speed-up for a character that may need multiple palette swaps as a background NPC or a player avatar.

Unreal Project Setup and Practical Notes

The included Unreal Engine project supports 4.19 or later, which means it also works in UE5. It uses the Epic Skeleton with additional bones, and facial animation is handled through Morph Targets. Physics are not included, but the recommendation is to use the KawaiiPhysics plugin for the best results, a common lightweight approach for hair and cloth in anime-style characters. Wind simulation for hair is included, and the project also ships with separated meshes for Master Pose / Leader Component and third-person standard animations. Blueprints are not included, so any gameplay logic needs to be assembled by the team. Cross-engine, the model can be exported in FBX and imported into tools like Blender, Cinema4D, or 3ds Max, though the rig and blendshapes were made in Maya and some software may not read them correctly. The developer supports Maya, Unreal, and Unity, and customers have reported the model working in Blender.

Where Cheng Yi Fits in Production

In practice, Cheng Yi fits into a team already working with UE4 or UE5 that needs a retargetable warrior girl with strong facial capture potential. The modular outfit and Material ID system make her easy to customize for different factions or color schemes. The absence of LODs and physics means the team has to bring their own optimization and cloth solutions, but the bone hierarchy and documented additional bones provide a clean foundation. For animation-heavy projects, the long list of tested animation packs is a shortcut to evaluating compatibility before you spend time on retargeting. The first check for any team should be whether their animation set matches what has already been tested; if it does, the retargeting path is short.

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