Overload - Realtime character

I'm excited to share this project finally. A project in which I poured all my energy while being super excited to learn new workflows and software packages. My main goal was to learn how to create a highly detailed character that could be used in a real-time environment.
I am very pleased with the result! I hope you like it too.
Here's a super brief recap of the process I followed to archive this result:
— Initial block out of shapes and forms in Maya, using a base mesh for the body and basic shapes for the rest of the elements.
— Sent body base mesh along with a few pieces of geo to Marvelous, geo that would serve me as passive colliders, so the patterns I created for the pants and jacket generated wrinkles and folds influenced by them.
— Sent all the low res geo from Maya and a triangulated Marvelous mesh to ZBrush. There I progressively sculpted all big, medium and small details for the clothes, pouches, boots, gloves, and even some hard surface stuff such as pieces of the armor and backpack using alphas.
— At the start I wanted to create a Tom Holland double (as you can see on the first zbrush renders) but quickly realized I wanted to change his facial features to portray someone less nice and more rude. I hope you can still see some resemblance, even though I altered it quite a bit.
— Once the high poly was done, I organized and decimated all character pieces in different groups, which would help me organize later on my UV sets. I took all the decimated pieces and imported them into Maya to start the process of retopology.
— After having all groups in low-res state, I sent them to Marmoset, along with their high-res version, to start the baking process. I could have done this in Substance Painter as well, but I wanted to test some controls Marmoset gives you to adjust the cage.
— After baking all the maps I needed, such as AO, curvature, normals, thickness, height, and position, I imported them along with the low res character into Substance Painter to start the texturing process.
— Having initial textures, and before finalizing them, I started the look development process in Unreal Engine, testing back and forth how my roughness, metalness, albedo, and normal maps worked.
— After having an initial good pass, I went back to Maya to start making the hair cards. I created different clumps of hair, and when I was happy, I baked them using Arnold renderer and different materials for the different hair textures I required for the cards, such as Alpha, AO, HairIDs, Root maps, etc. Same for the eyebrows and eyelashes.
— Once I had all the maps I needed, I made use of the GS CurveTool plugin to help me create and position the cards on the scalp of my character. When happy, I sent them to Unreal Engine.
— The final stage was mostly look dev in Unreal Engine and Marmoset.
It was a long way to get here; I had to try new workflows I only heard about and watch many YouTube tutorials and online courses.
I've got to mention the design of the character is not mine: most of the design choices were based on an online course by Hafez Yadollahi, from whom I learned most of the “characters for video games” workflow.
If you have any questions, please ask! I'd love to share what I learned. I found so many strangers online who helped me along the way; I would like to do the same.
Cheers!