K-POP SERIES - Mina

Mina arrives as an animated real-time character configured with interchangeable wardrobe layers, expressive facial capture targets, and an underlying rig matched to contemporary game engine animation pipelines. Designed as part of the broader K-POP Series alongside Ryu, Sun, and Lola, the character is set up to handle rapid visual transitions between staged musical performances, casual streetwear, and foundational base meshes without requiring custom animation retargeting across the cast.

Costume Variants and Modular Geometry Slicing

Character customization relies on a segmented base mesh designed to eliminate geometry clipping beneath garments. Rather than keeping a continuous body mesh fully active under tight layers, the torso and limbs are separated into isolated zones. Disabling or hiding mesh segments located directly under the clothing removes unsightly intersections during extreme poses while stripping down active triangle counts in dense scenes.

Mina is packaged across four distinct assembly configurations, each holding a dedicated geometric footprint:

• Mina Performance: 58,730 faces, 114,233 triangles, and 63,032 vertices.
• Mina Casual: 53,699 faces, 103,334 triangles, and 57,355 vertices.
• Mina Lingerie: 40,862 faces, 78,656 triangles, and 44,445 vertices.
• Mina Nude: 39,728 faces, 76,408 triangles, and 43,168 vertices.

No automatic level of detail (LOD) hierarchies are embedded in the files. Geometry efficiency relies on toggling these modular pieces off when concealed. Underwear is included within the wardrobe setup, and the character supports full stripping down to the base model. The base body skin map comes censored by default, though an uncensored texture alternative can be swapped in. Anatomical adult elements are represented strictly through two-dimensional texture mapping rather than sculpted geometry, custom bones, or morph targets.

Epic Skeleton Structure and Mina's Extended Bone Hierarchy

The core deformation structure is anchored directly to the Epic Skeleton hierarchy established for Unreal Engine 4. The primary bone chain remains clean and unaltered, allowing the mesh to accept standard humanoid animations out of the box. Skinning and rigging were executed cleanly in Autodesk Maya without proprietary plugins, leaving a standard joint hierarchy unencumbered by bespoke rig control objects.

To handle moving hair locks, jewelry, and multi-layered fabric pieces, an array of supplementary bones extends outward from the main skeleton tree:

• Facial and Torso Nodes: Eye_l, Eye_r, Breast_l, Breast_r, Earring_l, Earring_r.
• Hair Strands: Hair_back_01_l/r, Hair_front_01-03_l/r, and Hair_back_01-03_mid.
• Performance Wardrobe: Perf_belt_01 Alongside chains Perf_skirt_01-05_01-04.
• Casual Skirt Structure: Casual_skirt_back/side/front_01-03_l/r And stabilization bones Casual_skirt_fix_bone_front/back_01-02.

These supplementary branches enable developers to hook custom procedural physics directly to skirts, belts, earrings, and tresses. In Unreal Engine workflows, dynamic motion on these components operates smoothly via KawaiiPhysics or native rigid-body nodes. Because the core skeleton matches other female releases in the creator's lineup—including cross-compatibility with the Roxy base character—animations and wardrobe elements can be interchanged across shared project files.

Motion behavior has been validated across standard industry animation frameworks. Verified compatibility includes the Lyra Starter Game, Game Animation Sample Project, Advanced Locomotion System v4 (ALSv4), standard third-person templates, Female Interactions Animations, general motion capture libraries, ARLS with Horse Animset, Succubus AnimSet, Valley of the Ancient, and Close Combat: Swordsman.

52 ARKit Blendshapes and Anatomy Morphs

Facial performance is driven through 52 calibrated ARKit blendshapes, giving the head full compatibility with Apple Face ID capture systems and live-streaming VTuber setups. The shape targets map directly to Apple Live Link Face in Unreal Engine 5 as well as Face Capture utilities inside Unity. The shapes translate cleanly into tools such as FaceWare, VTuber software, VRChat, MMD, and specialized real-time facial capture pipelines.

Outside of standardized facial expressions, the model packs specialized parametric body morphs that operate across all wardrobe variants:

• Proportional sizing adjustments for both breast and glute volume.
• Ears capable of sliding between baseline human anatomy and elongated fantasy elf shapes.
• Dynamic dimension sliders to lengthen finger nails and hair strands.

Because these morphs deform the clothing meshes in parallel with the base anatomy, developers can alter Mina's silhouettes without introducing skin poke-through or breaking garment seams.

4K PBR Textures and Material ID Recolor Workflows

Surface shading relies on eight distinct texture map sets covering the Body, Head, Clothes, Shoes, Teeth, Hair, Eyes, and Lashes. All main textures are exported at 4096×4096 resolution and packed for efficient video memory footprint across modern GPU pipelines. The full set incorporates maps for Base Color, Normal, Roughness, Metallic, Ambient Occlusion, Material ID, Opacity, and Emissive channels.

The included Material ID maps allow developers to isolate sub-elements across the skin, iris, hair strands, and costume components. Within the Unreal Engine project (configured for engine versions 4.19 and newer), pre-configured Material Instances leverage these ID masks. Rather than modifying raw diffuse textures in graphic design software, art teams can restyle costume colors, darken hair strands, or modify eye hues in real time through parameter scalar and vector inputs inside the material editor.

Project Configuration and Pipeline Integration

Within the native Unreal Engine project format, Mina includes separated modular meshes pre-configured for Master Pose Component and Leader Pose Component workflows. Standard third-person locomotion animations and wind simulation setups for the hair are packed into the asset folder. Gameplay blueprints are intentionally omitted, allowing technical animators to drop the skeletal meshes directly into their own character pawn hierarchies without untangling conflicting blueprint logic.

For cross-engine development, FBX and OBJ source files can be integrated into external Digital Content Creation (DCC) software such as Blender, Cinema 4D, and 3ds Max. Because the skeleton hierarchy and deformers were authored specifically within Maya, external software packages may require manual parameter checks when reading joint orientations and blendshape sliders. For production pipelines looking for a complete modern pop idol or urban stylized protagonist, Mina supplies an interconnected, production-ready balance of modular flexibility, facial mocap support, and lightweight asset integration.

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