The Funko Pop. Anyone who has had even a passing interest in pop culture will have come across these figures. Although they have a basic template (large, squared head with tiny bodies and beady eyes), these figures cover a huge range of franchises, from the most mainstream, popular series to niche, cult classics. Funko Pop collecting has become a huge hobby of its own, with the #funkopop hashtag on Instagram showcasing the huge collections of (often unboxed) figures that many fans have amassed over the years.
Given their enormous popularity, it wouldn’t be much of a stretch to suggest that, centuries from now, future archaeologists will be finding giant hoards of Funko Pop figures. But what will they think of them? Let’s use these popular collectables to flex our archaeological interpretation skills!
The Funko Pop: The Fandom Collectable
Let’s first look at Funko Pop figures as they exist right now: as a popular pop culture collectable. The first “Pop” figure was introduced in 2010 in the form of various Batman characters. Originally starting with only three major licenses (Marvel, DC, and Star Wars), the Funko Pop brand has now extended to covering 454 licenses (Cheng 2018).
Although each figure is representative of different pop culture characters, there is a sort of “basic template” that gives each Funko Pop figure a specific “Funko flair” – each figure has a large, square head, with beady eyes, and small, little bodies. Although Funko Pop figures are sold everywhere, they are most often associated with fandom conventions, with certain figures being sold exclusively at certain events, such as Comic-Con. The popularity of Funko Pop figures has led to the creation of other Funko Pop items, including clothing and homeware.
The Funko Pop: The Votive Offering
So now, let’s change the perspective. What will archaeologists in 1000 years think as they recover huge collections of Funko Pop figures from the ruins of our generation?
Humanoid figurines recovered from the archaeological record are often correlated with religion, specifically during prehistory where we lack written sources to tell us otherwise. By ascribing certain characteristics to the figurine – such as anthropomorphic traits, ritual significance, or some other supernatural aspect – the figurine is set apart from other material goods, allowing it to be used for dedication and offering to an otherworldly being, such as a deity or spirit (Osborne 2004). This idea, as applied to Funko Pop figures, is probably best described by Pulliam-Moore (2018), who has pointed out that the general uniformity of the figures heightens the fact that they are ultimately physical symbols “meant to represent the emotional relationships we have to characters and stories that they love”.
Additionally, we may also see the Funko Pop as a sort of offering – literally representing the exchange of money for these figures, which in turn can be seen as an offering to what the figures represent. As Funko CEO Brian Mariotti has said, “The idea of chasing things you love based on fandom is really, really important”. And this is true with Funko Pops – fans will spend hundreds of dollars collecting exclusive figures that are only sold at certain events (Cheng 2018). Although many Funko Pop fans are interested in collecting all things Funko Pop, there are many other fans who are only interested in certain fandoms and franchises. By buying and collecting only one particular franchise’s Funko Pop figures, a fan is expressing their fealty and dedication to that franchise – both as a performance and financially.
The Funko Pop: The Sign of Status
So, as future archaeologists, we have now established the significance of the Funko Pop figure. But how do we explain the huge quantities of figures that individuals may “hoard”, for lack of a better word? Just as we now find hoards of Viking Age treasures, will future archaeologists find hidden stashes of Star Wars Funko Pops?
Perhaps this can be explained by looking at the Funko Pop as a sign of status. By having the most Funko Pops, a person is showcasing not just their fervent fanaticism, but also displaying a sort of “wealth” that places them in a specific role in the overall hierarchy of both monetary class as well as “fandom class”, or how much of a “true” fan a person is.
In historical archaeology, it is often useful to examine material goods through a more “consumerist” perspective, especially when dealing with larger “collection”-type assemblages. Consumerism studies allow archaeologists to analyse material goods not just for their functional value, but also for their cultural value as well, as consumerism often results in utilising quantification of certain material goods as a means of marking or expressing one’s hierarchical status (Martin 1993, Van Wormer 1996). Collecting Funko Pops is also not just a display of monetary wealth (each figure is roughly $10), but also a display of cultural wealth – arbitrary ideas of “fandom credit” means one must have a certain about of “cultural capital”, which can refer to simply having the “right” knowledge about a certain franchise to, in our case, having a certain amount of material goods (Fiske 1992).
The very act of collecting itself has its own hierarchies as well. For example, a person who is able to obtain certain figures, such as the exclusive “chase” Funko Pop figures, is in itself an achievement that creates more cultural capital for the collector. This is especially heightened with the recent popularisation of documenting collections via social media – the Funko Pop fandom is able to see, in real time, who are the “top collectors”, which adds a new dimension to accumulation as achievement (Heljakka 2017).
Of course, this all sounds silly to us in the modern day – as fanatic as Funko Pop collectors are, I don’t we would consider their collections as “altars” or “offerings”! But this exercise provides us with an idea of how the intentions and use behind material goods can change over time. It reminds us, as archaeologists, that ultimately we are “interpreting” what we find – there are so many nuances that we will miss along the way, some which could totally change our current interpretation!
I’d also like to think that this exercise can also provide us with different perspectives of the things we consider “normal” right now, like how we express our “fandom allegiances” and how consumerism is entwined to create an economy of “cultural capital”. That’s one of the best things about archaeology – by thinking about the past, we can further explore our present and future!
Also, I would love a Funko Pop figure of Dale Cooper from Twin Peaks, thanks.
Cheetham, F. (2012) An Actor-Network Perspective on Collecting and Collectables. Narrating Objects, Collecting Stories: Essays in Honour of Professor Susan M. Pearce. Routledge.
Cheng, R. (2018) At Comic-Con 2018, Funko Reigns as Unofficial King of Pop. Cnet. https://www.cnet.com/news/at-comic-con-2018-why-funko-is-the-unofficial-king-of-pop-culture-fundays/
Fiske, J. (1992) The Cultural Economy of Fandom. The Adoring Audience: Fan Culture and Popular Media. Psychology Press. pp. 30 – 49.
Heljakka, K. (2017) Toy Fandom, Adulthood, and the Ludic Age: Creative Material Culture as Play. Fandom: Identities and Communities in a Mediated World. New York University Press. pp. 91-108.
Martin, A.S. (1993) Makers, Buyers, and Users: Consumerism as a Material Culture Framework. Winterthur Portfolio. 28 (2/3). pp. 141 – 157.
Osborne, R. (2004) Hoards, Votives, Offerings: the Archaeology of the Dedicated Object. World Archaeology. 36 (1) pp. 1-10.
Pulliam-Moore, C. (2018) My Love for Funko Pops is What Made Me Stop Buying Them. Gizmodo. https://io9.gizmodo.com/my-love-for-funko-pops-is-what-made-me-stop-buying-them-1823725462
Van Wormer, S.R. (1996) Revealing Cultural Status and Ethnic Differences through Historic Artifact Analysis. Proceedings of the Society for California Archaeology. pp. 310 – 323.