Pre-orders for the 1/3 Scale 'Aliens vs. Predator: Requiem Wolf Predator; Statue Began April 17, 2025
Prime 1 Studio has announced the 'Aliens vs. Predator: Requiem Wolf Predator' statue. Pre-orders began April 17, 2025 (JST); release set for October 2026.
ASAKUSA, TAITO-KU, TOKYO, JAPAN, April 21, 2025 / EINPresswire.com / -- Wolf Predator from 'AVP: Aliens vs. Predator – Requiem' joins the Real Elite Masterline series. This is Prime 1 Studio's eighth 1/3 scale Predator statue release.
The pose is based on the character's appearance in the film. Two interchangeable head parts are included: a bio-mask engraved with Yautja language and an unmasked head featuring a damaged single eye. The body surface patterns and weathered equipment details are carefully reproduced. The statue also features LED light-up functions in various areas.
The custom base includes a defeated Warrior Alien. Its exoskeleton is painted in a dark metallic gray, and its acidic blood is recreated using clear resin.
The DX Bonus Version includes a variety of additional parts: a combi-stick, shuriken, plasma pistol, whip, dissolving liquid, a roaring unmasked head, and a head stand. A version-exclusive plasma pistol with a stand is also included as a special part.
Additionally, customers who purchase this product along with a qualifying item will receive a damaged bio-mask as a Patron Bonus.
*Please refer to our online store for more information about the Patron Bonus.
Product Name:
Real Elite Masterline Aliens vs. Predator: Requiem Wolf Predator DX Bonus Version
Retail Price USD: $2999
Edition Size: 999
Arrival Date: October 2026
Scale: 1/3
H:95cm W:85cm D:65cm
H:95cm W:85cm D:67cm (Pointing Hand)
H:95cm W:85cm D:78cm (Plasma Pistol)
Weight:
81.5kg
81.9kg (with Damaged Bio Mask)
Materials: Polystone and other materials
Specifications/Additional Items
・Aliens vs. Predator: Requiem Themed Base
・Three (3) Swappable Heads (Bio Mask, Unmasked [Serious / Roaring])
・Four (4) Swappable Right Hands (Fist, Combistick, Shuriken, Whip)
・Three (3) Swappable Left Arms (Downward, Pointing, Plasma Pistol)
・Three (3) Swappable Left Hands for the Downward Arm (Fist, Open Palm, Shuriken)
・Two (2) Sets of Swappable Combistick Segments (Extended, Retracted)
・Two (2) Swappable Wrist Blades (Extended, Retracted)
・Two (2) Swappable Plasma Cannons (Extended, Retracted)
・Two (2) Swappable Backpacks (Heavy-Equipped, Light-Equipped)
・Two (2) Dissolving Liquid Vials (Unused, Used)
・Three (3) Title Logo Plates (Silver, Black, AVP)
・Two (2) Head Stands
・LED Light-Up Feature (Bio Mask, Gauntlet, Plasma Cannon, Plasma Pistol)
・One (1) Plasma Pistol with Stand [BONUS PART]
・One (1) Damaged Bio Mask [PATRON BONUS PART]
LED Power Supply Method: TBD
* Please prepare batteries, USB cables, or other necessary items depending on the final power supply method.
Copyright: TM & (C) 20th Century Studios
For more details, visit our online store.
Hiroya Kubota
Prime 1 Studio Co., Ltd
[email protected]
Visit us on social media:
Facebook
X
Instagram
YouTube
Legal Disclaimer:
EIN Presswire provides this news content 'as is' without warranty of any kind. We do not accept any responsibility or liability for the accuracy, content, images, videos, licenses, completeness, legality, or reliability of the information contained in this article. If you have any complaints or copyright issues related to this article, kindly contact the author above.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
San Francisco Chronicle
18 hours ago
- San Francisco Chronicle
The finale after the finale: S.F. Symphony Chorus shines in Verdi's Requiem
Like a baseball game rescheduled after a rainout, there was one more concert on the San Francisco Symphony's season calendar after last week's grand finale with outgoing Music Director Esa-Pekka Salonen. The orchestra staged its makeup performance of Verdi's Requiem on Friday, June 20, a concert that was canceled during the Symphony Chorus' strike in September last year. James Gaffigan generously stepped in to conduct the work, which Salonen would have led in the fall. The program is slated to be repeated on Sunday, June 22, at Davies Symphony Hall. After its extraordinary contributions to Salonen's farewell performance of Gustav Mahler's Symphony No. 2, the Chorus showed it was worth every penny of the anonymous $4 million gift made in the months following the strike. The singers came to the fore not just in the 90-minute Requiem, normally programmed by itself, but in a first part that included three choral pieces by Gordon Getty, himself a generous donor to the Symphony (and a co-founder of San Francisco Classical Voice). Getty's works are genial, melodic and accessible, and Gaffigan, a friend of the composer, led them deftly and with evident care. The Intermezzo from Getty's 2017 opera 'Goodbye, Mr. Chips' begins delicately, with spare lines in the marimba giving way to the harp, then acquiring a more definitive melodic profile in the strings. It's a meditative piece that finds an unexpected climax when the choristers interject a school hymn, almost as if overhead from afar. The Chorus also gave fine performances of 'Saint Christopher' (2024), which features effective writing for voices, and 'The Old Man in the Snow' (2020), a more substantial work in several sections that Getty skillfully sets apart with different instrumentation, including a trombone choir, keyboards and mallet percussion. If the performance of the piece as a whole lacked finesse, their contributions were nonetheless stellar. The singing was artful, from the opening 'Requiem aeternam,' with the sound humming in the air through the nasal consonants, to the explosive 'Dies irae' and the stentorian 'Rex tremendae.' The women made a luminous entrance in the 'Lacrimosa' at the line 'Huic ergo parce, Deus' (Therefore spare him, O Lord), and the whole chorus concluded with the fearful declamation and hortatory final fugue of the 'Libera me.' The singers encompassed the range of Verdi's writing in finely balanced sound that pulled emotion from every chord change. Gaffigan's conducting, however, emphasized drive and the titanic climaxes while shorting the Requiem's poetic side. Certainly, this is a public religious work, conceived as a memorial to Italian art — first to the composer Gioachino Rossini and then, when that initial plan fell through, to author Alessandro Manzoni. But it's not only theatrical. This interpretation was driven by inflexible tempos and a sameness to all of the climaxes and fortissimo outbursts that ultimately became wearing. Though the orchestra played well, earning deserved applause, the performance was missing a sense of transcendence and the overarching struggle of mourning and fear giving way to tranquility and acceptance. The soloists — soprano Rachel Willis-Sørenson, mezzo-soprano Jamie Barton, tenor Mario Chang and bass Morris Robinson — were generally excellent. The notable exception was Chang's effortful 'Ingemisco' prayer, sung without any bloom in the tone and generally unresonant and unconvincing. The violins joined Willis-Sørenson in a moving 'Sed signifer sanctus Michael' (Let the standard-bearer holy Michael), the soprano singing sweetly in one of the score's many standout lyrical moments. If there had been more of those, this Requiem would have been even better.
Chicago Tribune
2 days ago
- Chicago Tribune
Review: Muti returns to the CSO, principal trumpeter and Verdi's Requiem in tow
For a time, Chicago Symphony music director emeritus Riccardo Muti planned to end the 2024/25 downtown season with Hector Berlioz's 'The Damnation of Faust,' not heard at Orchestra Hall since 2008. But last summer, the CSO announced the Berlioz would be swapped out with a more recent throwback: Verdi's Requiem, which Muti last led in Chicago in 2018. A signature of Muti's tenure here, the Requiem was performed and recorded to wide acclaim, first through a Grammy-winning 2010 album and again via livestream in 2013, back when that technology was relatively novel. Despite missing out on a rare-going-on-rarer 'Faust,' the Muti/Requiem pairing is as sure a thing as they come. Thursday's concert was no exception, clinching a standout performance of the year with a quartet of superbly cast — and superbly matched — vocal soloists, three of whom were making their CSO debuts. Mezzo-soprano Marianne Crebassa and tenor John Osborn were both cast for the originally planned 'Faust,' but you'd think they were hand-picked specifically for this repertoire. Crebassa didn't just sing the mezzo part — she seemed to live it, from the throaty intensity of 'Liber scriptus' to a grief-stricken 'Lacrymosa,' her vibrato bubbling like tears. Her jewel-toned voice sat well in Verdi's lower vocal writing, but it also easily winged skyward when called for, like a glittering upward climb in 'Quid sum miser.' Crebassa has not sung at the CSO since 2015, at Esa-Pekka Salonen's invitation; her next visit ought to come far sooner. Osborn was every bit as sensitive, living proof that one doesn't need to muscle through this writing to captivate a hall. Between his dynamic and emotional range, and an uncommon transparency of tone — the top of 'Quid sum miser' would have given most sopranos a run for their money in its diamond-bright purity — his every feature cut straight to the heart. Elena Guseva's soprano staggers in its power and control, retaining its hue even at lofty peaks. But much like her colleagues, the soprano was even more astonishing in moments of balance and introversion, like her spick-and-span octaves with Crebassa in 'Agnus Dei' and the tender sendoffs to 'Domine Jesu Christe' and 'Libera me.' The young bass-baritone Maharram Huseynov stepped in last week for Ildebrando D'Arcangelo, also originally a 'Faust' hire. Where many before him have brought big-boned heft to this role — which might have helped Huseynov when he got swallowed by the orchestra's fire in the 'Confutatis' — I'm not convinced that's the point. Huseynov's lighter touch felt closer to the spirit of the text, his voice toned, vulnerable and sympathetically, grippingly human-sized. These performances mark Donald Palumbo's official debut as the new director of the Chicago Symphony Chorus. It was an auspicious first outing, the choir sounding sculpted and notably unified in color and timbre. Basses rumbled in the 'Rex tremendae' like a voice from a fissure in the earth; sopranos entered on the final 'Libera me' canon with the precision of a single singer. Any ensemble issues mostly came from disagreement between the orchestra and the chorus. The chorus floated around the beat in the first 'Dies irae.' The 'Sanctus' was the opposite: they followed Muti's more leisurely tempo like a shadow, despite the orchestra itching to default to the sprightly pace of years' past. But these moments were few and brief in an inspired, brilliantly paced Requiem, its orchestral contributions sounding fresher than ever. Violins supported the 'Kyrie' crisply; later, Vadim Karpinos' timpani licked like flame in the 'Dies irae.' Onstage and offstage trumpet quartets drove a terrifying transition into the 'Tuba mirum.' And when Guseva and the chorus sang that 'the earth shall be shaken' in the 'Libera me,' a mighty rumble in the double basses made sure you really believed it. Elsewhere, Muti halted the action with moments of total silence, all to great, hair-raising effect. Deliverance, indeed. A week earlier, also under Muti's baton, principal trumpet Esteban Batallán — returning to the ensemble this fall after a season with the Philadelphia Orchestra and a summer parental leave — made his CSO solo debut on two 18th century concertos for piccolo trumpet, by Georg Philipp Telemann and Joseph Haydn's overlooked brother, Michael. The repertoire frequently played to Batallán's strong points. Both — especially the Michael Haydn concerto and its virtuosic cadenzas, devised by Batallán himself — gave the trumpeter a chance to show off his dazzling upper register. And for all his sheer power behind the horn, Batallán can certainly scale back when called for, balancing chamber-style against the ensemble throughout. Mostly missing, at least on June 12, was a certain sense of phrase and direction in legato sections. From the slow movements of the Telemann to floating refrains in the Haydn, notes felt over-articulated rather than part of a longer line. The CSO sound under Muti is nothing if not refined — everything shapely and in its place, never crass nor unruly. That made for an elegant yet reliable accompaniment in these concertos. But once the orchestra became the main focus for Joseph Haydn's Symphony No. 48, 'Maria Theresa,' and Schubert's Symphony No. 4, 'Tragic,' that refinement sounded more like reticence. The stormy fake-out in the Haydn's first movement sounded defanged, and the finale rather polite. The Schubert was even more reined in, the orchestra clean but sounding like it was playing at half-verve. The overall impression was one of an ensemble walking on eggshells: little spark, little levity, little variety, too much weighty reverence. That's not to discount some fine ensemble work. Woodwind contributions in the Schubert from clarinetist Stephen Williamson, oboist William Welter, and outgoing flutist Stefán Ragnar Höskuldsson were both impassioned and lucid. Mark Almond, sitting in the hot seat for the Haydn symphony's diabolically high horn part, wasn't always pristine, but he deserves serious kudos for deftly balancing the stratospheric register of his accompaniment so it dusted the harmonies instead of dominating them — all too easy to do. 'Muti Conducts Verdi Requiem' repeats 7:30 p.m. June 20-24 at Symphony Center, 220 S. Michigan Ave., tickets starting at $79,
New York Post
3 days ago
- New York Post
Bruce Springsteen reveals why he stayed away from ‘Deliver Me From Nowhere' set during ‘deeply personal' scenes
Bruce Springsteen is reliving his glory days on set. But the singer, 75, got candid on which scenes he stayed away from in Jeremy Allen White's portrayal in the upcoming biopic, 'Deliver Me From Nowhere.' 'If there was a scene coming up that was sometimes really deeply personal, I wanted the actors to feel completely free, and I didn't want to get in the way, and so I would just stay at home,' Springsteen revealed in an interview with Rolling Stone published Thursday. 6 Jeremy Allen White plays Bruce Springsteen in 'Deliver Me From Nowhere.' 20th Century Studios The icon added, 'If Scott Cooper, the director, wanted or needed me there for something, I would try to make it. But I was on tour in Canada for the whole first month or so of the filming, and so I was really out on the road quite a bit and working at that time.' Springsteen went on to praise White, 34, for being 'very, very tolerant of me the days that I would appear on the set,' while also noting the project includes 'some of the most painful days of my life.' While on set, the musician told 'The Bear' star, 'Look, anytime I'm in the way, just give me the look and I'm on my way home. The days that I got out there, he was wonderfully tolerant with me being there. And it was just fun. It was enjoyable.' 6 Jeremy Allen White plays the rocker circa 1982. 20th Century Studios The biopic follows Springsteen's upbringing in Freehold, N.J., and the making of his 1982 album 'Nebraska.' The movie hits theaters Oct. 24 and includes Jeremy Strong as Springsteen's producer and manager, Jon Landau, Stephen Graham as the rocker's father, Douglas, Paul Walter Hauser as Mike Batlan, who created a set-up for Springsteen to record his music in his bedroom, and Marc Maron as Chuck Plotkin, the producer who mastered the songs on the album. When the outlet asked the Grammy winner if he would consider performing 'Nebraska' in order to promote the film, Springsteen wasn't fully on board. 6 White has called the Boss 'just the greatest guy.' 20th Century Studios 'I doubt I'll do it,' he confessed, 'but I could possibly go out and play that record straight through one day. I think that would be fun to do, and the fans would get a kick out of it. That's not off the table.' In October, the Boss appeared on the British chat show 'The Graham Norton Show' where he gushed over the film's 'lovely cast' and told Norton, 62, he's 'involved a little in the project.' 'This is not easy to do because you can't do an imitation, you have to do a personal interpretation,' Springsteen explained about White stepping into his footsteps. 'It's difficult, but he is a great actor and sings pretty good.' 6 Bruce Springsteen and wife Patti Scialfa circa 1991 in New York City. Getty Images During an August interview with GQ, the 'Shameless' alum gushed over the musician being 'really supportive of the film' 'I've had some access to him, and he's just the greatest guy,' he shared. The trailer dropped on Wednesday, and starts with Springsteen looking to buy a new car before the salesman recognizes him. 6 Springsteen praised White as a 'great actor.' Kamala Harris/ YouTube Springsteen replied, 'Well that makes one of us.' Then, the young singer is recording a song in his room, telling the engineer: 'It don't need to be perfect. I want it to feel like I'm in the room by myself.' The clip also shows Landau going to bat for his artist in a room full of music label execs. 'This isn't about either one of us. This isn't about the charts. This is about Bruce Springsteen,' he said. 'And these are the songs that he wants to work on right now.' 6 Bruce Springsteen speaks in concert. AP 'Bruce is a repairman and what he is doing with this album is he's repairing that hole in his floor,' a voiceover noted in the trailer. 'He's repairing that hole in himself. And once he's done that, he's going to repair the entire world.' 'I'm trying to find something in all them worries,' Springsteen added.
