Alien and Predator Collectibles on VeVe
Alien and Predator collectibles on VeVe are officially licensed 20th Century Studios digital figures. The Alien side covers the Xenomorph along with the Facehugger, Chestburster and Ovomorph life-cycle pieces. The Predator side centres on the Jungle Predator with variant releases. All are numbered editions viewable in AR.
Two monsters, eight years apart, both designed so well that nobody has meaningfully improved on them since. That is the strange thing about Alien and Predator as collecting subjects. Most franchises get redesigned every decade because audiences get bored. These two got it right the first time and everything since has been a variation.
The 20th Century Studios licensed figures on VeVe lean into exactly that, which is why the Alien side is not just a Xenomorph standing there.
What is in the Alien lineup
The smart move with these pieces is that they cover the life cycle, not only the finished monster.
The Ovomorph is the egg. It is the least dramatic object in the franchise and possibly the most effective, because everyone in the audience knows what it does and the characters on screen do not. As a display piece it works as an anchor: quiet, organic, faintly awful.
The Facehugger is the second stage, and it is the one that made the 1979 film genuinely upsetting rather than merely scary. Ridley Scott’s camera treats it as a biological fact rather than a creature attack. Displayed on its own it reads almost like a specimen.
The Chestburster is the third stage and the most famous single scene in the franchise. There is a reason people collect this one as a standalone figure rather than as part of a group. It is not a monster so much as a moment.
The Xenomorph is the adult. Elongated skull, no visible eyes, exoskeleton that looks equal parts insect and machine, and the inner jaw that gave the design its signature. It is the centrepiece of any Alien display and the piece most collectors start with.
Owning the four together is the actual pitch here. Very few licences let you collect a biological process. Each drops as a numbered edition with a published rarity tier, so you can see exactly how large the run is.
What is in the Predator lineup
The Predator side centres on the Jungle Predator, the original 1987 design from the Central American setting: dreadlocked tresses, bio-mask, shoulder cannon, wrist blades, and the cloaking effect that made the first half of the film work as a monster movie where you never see the monster.
Variant releases follow the pattern the franchise itself established. Predator lore has always allowed for different individuals, different clans and different gear loadouts, so variants are not a merchandising invention bolted on afterwards. They are how the fiction works.
Displayed against the Xenomorph, the two designs are a study in opposites: one is a blind, silent, biological inevitability, the other is a visible hunter with technology and a trophy code. Put them on the same shelf and the contrast does the work for you.
Giger, Winston, and why the designs never aged
Alien came out in 1979, and the creature came from the Swiss artist H.R. Giger. Ridley Scott saw Giger’s painting Necronom IV and built the film’s creature around that sensibility: biomechanical, sexual in an uncomfortable way, chrome and bone at the same time. Giger designed the egg, the facehugger, the adult creature and the derelict ship interior, which is why the whole film hangs together visually in a way most monster movies do not. The design won an Academy Award for Visual Effects.
Predator came in 1987, and the monster you know almost did not exist. The original creature suit was scrapped during production. Stan Winston was brought in to design a replacement, and his version, with the mandibles, dreadlocks and bio-mask, became one of the most recognisable creature designs in film. The original suit, before the redesign, had been worn by Jean-Claude Van Damme, which is one of those production facts that sounds invented and is not.
Both designs share the quality that makes a good collectible: they read at a glance in silhouette. You can identify either from a shadow. That is exactly what you need from a figure sitting on a shelf or floating in AR at arm’s length.
The Kenner line and horror collecting culture
Here is where the collecting history gets genuinely odd. In 1992, Kenner released an Aliens toy line aimed at children, based on a franchise that children were categorically not allowed to watch.
It worked anyway. The line ran to Aliens, Predators and a set of Xenomorph variants, some invented for the toys rather than drawn from the films: the Scorpion Alien, the Gorilla Alien, the Snake Alien and others. Kenner also produced an Alien figure in 1979 for the first film, sold as a toy, which is one of the strangest marketing decisions in the history of the medium and now one of the most sought-after figures in horror collecting.
The Kenner line matters because it established that horror franchises could sustain a toy aisle. Everything since, from NECA’s long-running Alien and Predator series to high-end resin statues, descends from that proof. Horror collecting has its own culture as a result: heavier on practical effects appreciation, deeply attentive to screen accuracy, and unusually forgiving of the ugly and the grotesque. Ask a horror collector about paint applications and set aside an hour.
Digital figures slot into that culture more naturally than you might expect. Screen accuracy is easier to hit when you are not constrained by injection moulding, articulation joints or paint tolerances. And the AR display suits these designs, because a Xenomorph at scale in a real room is a better experience than a Xenomorph six inches tall on a bookcase. If some of the terminology here is new, the glossary covers the basics.
Building an Alien or Predator display
A few opinions, offered freely.
Do not mix the two franchises into one undifferentiated monster pile. They are separate design philosophies and they fight each other visually. Two groupings, not one.
On the Alien side, the life-cycle sequence is the strongest display you can build, and it beats owning four different Xenomorph poses. Egg, facehugger, chestburster, adult. It tells a story that anyone who has seen the film reads instantly.
On the Predator side, variants reward patience. One Jungle Predator is a figure. Three Predator variants is a clan, and it looks deliberate.
And if you are starting from zero, start with the adult Xenomorph. It is the most recognisable creature design of the last fifty years, it anchors everything else you add, and it is the piece you will still like when the rest of the shelf has changed.
The current lineup lives on the Alien and Predator franchise page, and you can browse everything else on the characters page. New releases are posted to the drop calendar.
Collecting Alien and Predator on VeVe
New collectors get US$10 in free credit on VeVe with no card required, which is enough to open an account, look through the store and see how these designs hold up in AR before you commit anything.