A sentence becomes
a game-ready asset
Describe what you need. GAMRIG generates the mesh, bakes its textures, and hands you a file that imports cleanly into Unity or Godot. The same account writes the sound.
Describe what you need. GAMRIG generates the mesh, bakes its textures, and hands you a file that imports cleanly into Unity or Godot. The same account writes the sound.
Three steps, and you see the result of each one. Nothing is generated behind your back.
Plain language, in any language. A concept image is drawn first — it costs a fraction of a mesh, so you approve the look before any geometry is computed.
An open 3D model turns that image into geometry, then bakes base colour, roughness, metallic and normal maps onto it — the maps a game engine actually reads.
Budgeted to a few thousand triangles, not the hundreds of thousands a renderer would give you. FBX for Unity, glTF for Godot — both native, no importer to install.
The Sound Studio sits next to the 3D one, in the same account and on the same balance. You describe a sound the way you describe a prop, and you get a WAV back — no library to licence, no sample pack to search through.
A door, a footstep, a spell landing. One to forty-seven seconds — the length an engine triggers, not a track you fade into.
A loop for a level, a theme for a menu. Ten seconds to two minutes, described by mood and instruments rather than picked from a genre list.
Your line, spoken by a voice you describe — a gruff old guard, deep and slow. Nothing is cloned from a recording you upload; there is no such field.
Most generators stop at the file. The hard part is everything after: the polygon budget, the texture maps arriving linear instead of sRGB, the normal map that no model emits and every engine expects. GAMRIG does that work, because a model you have to fix by hand is a model you may as well have modelled.
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