Psychology of collecting isn’t something new—it’s been around for ages. Romans collected coins, Victorians hoarded butterflies, and your gran probably still has a cupboard full of commemorative plates. It’s a hobby that’s always cost money, but after the TV era kicked in properly, we saw something entirely different emerge: the concept of fictional collecting.
Suddenly people weren’t just buying things that existed in the real world. They wanted pieces of stories. Lightsabres from Star Wars, wands from Harry Potter, replica swords from fantasy films. The telly brought these imaginary worlds into our living rooms, and we wanted to bring them back out again—into our own spaces.
The Psychology of Collecting (With a Fictional Twist)
Traditional collecting psychology centres around three main drives: the thrill of the hunt, the need for completion, and social status signalling (Belk, 1995, “Collecting in a Consumer Society”). But fictional collecting adds another layer—emotional connection to narrative.
When someone buys a replica of Frodo’s sword, they’re not just acquiring an object. They’re purchasing a tangible link to a story that moved them. The psychology here gets more complex because the item never actually existed. You’re collecting memories of experiences that weren’t real, which sounds mental when you say it out loud, but it’s exactly what millions of people do.
Dr Susan Pearce’s research on collecting behaviour shows that fictional items trigger what she calls “souvenir syndrome”—the desire to own something that represents a meaningful experience (Pearce, 1995, “On Collecting: An Investigation into Collecting in the European Tradition”). Even though that experience was watching a film or reading a book, the emotional response is genuine.
The attachment forms through what psychologists call “transportation”—when you become so absorbed in a story that you temporarily lose awareness of your real surroundings (Green & Brock, 2000). The more transported you were, the stronger your desire to own a piece of that world becomes.
The Psychology of Smart Collecting (For Those Who Care About Money)
Smart collectors approach fictional items differently. They don’t just buy because something looks cool or made them feel fuzzy inside. They consider several factors that separate sensible collecting from expensive therapy.
First, they research production numbers. Limited editions of 500 pieces behave very differently in the market than mass-produced items with no production cap. Smart collectors know that scarcity drives value, but artificial scarcity (where companies create fake limits) doesn’t hold long-term worth.
Second, they understand the difference between official licensed products and fan-made replicas. Official items have legal protection and brand backing, but fan-made pieces often show better craftsmanship. The psychology here splits between wanting authenticity and wanting quality.
Smart collectors also time their purchases. They know that prices spike around film releases and drop afterwards. They understand that hype is expensive, and patience saves money. They’re comfortable missing out on immediate gratification because they’ve trained themselves to think long-term.
The Costs of Collecting Vs Collectibles as Investment
Here’s where fictional collecting gets interesting from a financial perspective:
| Collection Type | Initial Cost | Storage Requirements | Resale Potential | Time to Peak Value |
|---|---|---|---|---|
| Mass Market Film Props | £20-£100 | Minimal | Poor (10-30% of original) | Never |
| Limited Edition Replicas | £100-£500 | Moderate | Variable (50-200%) | 5-15 years |
| Screen-Used Props | £500-£50,000 | High security needed | Excellent (200-1000%+) | 10-30 years |
| Artisan Replicas | £200-£2,000 | Moderate | Good (80-150%) | 3-10 years |
| First Edition Books | £50-£5,000 | Climate controlled | Excellent (100-500%) | 20-50 years |
The harsh reality? Most fictional collectibles lose money. That £200 Harry Potter wand you bought in 2009 is probably worth £80 today unless it was a very specific limited run.
But some do work as investments. Original Star Wars figures from the 1970s have returned over 1000% to collectors who kept them in packaging. First edition hardbacks of popular fantasy series regularly outperform the stock market.
The key difference is cultural staying power. Items from stories that remain relevant for decades hold value. One-hit wonders don’t.
Case Study: The Lord of the Rings Market
Take Lord of the Rings Swords as an example. When the films released, United Cutlery produced official replicas. Sting (Frodo’s sword) retailed for about £180 in 2002. Today, unopened examples sell for £120-£150 on the secondary market—a loss, but not catastrophic.
Compare that to screen-used props from the same films. A background Uruk-hai sword sold for £400 at auction in 2004. The same piece sold for £2,800 in 2019. The difference? Provenance and scarcity.
Weta Workshop’s limited editions tell another story. Their 1:1 scale Narsil replica, limited to 2,500 pieces at £600, now trades for £800-£1,200 depending on condition. The psychology here involves both scarcity and craftsmanship quality that appeals to serious collectors.
But here’s what’s interesting: homemade replicas often outperform official ones. A well-made sword by an independent craftsman, selling originally for £300-£400, can command £600-£800 if the maker gains reputation. Collectors value authenticity of construction over corporate licensing.
The market splits into clear segments:
- Display collectors want screen accuracy and official licensing
- Investment collectors focus on production numbers and provenance
- User collectors prioritise build quality and functionality
- Completionist collectors need everything, regardless of sense
What This Means for Your Wallet
Fictional collecting can be financially sensible, but only if you understand the psychology driving your purchases. Are you buying because you love the story, or because you think it’ll be worth something someday?
The emotional attachment that makes fictional collecting so appealing is also what makes it financially dangerous. When you’re emotionally invested, you make poor financial decisions. You pay premium prices for new releases. You buy multiples “just in case.” You convince yourself that this time will be different.
Russell Belk’s work on collecting shows that the most financially successful collectors are those who can separate emotional attachment from purchase decisions (Belk, 2001, “Collecting in a Consumer Society“). They buy what they love, but they buy it smartly.
The psychology of smart fictional collecting comes down to a simple question: am I buying this because I want to own it, or because I want to own the feeling it represents? The first leads to thoughtful purchases. The second leads to cluttered rooms and empty bank accounts.
Most fictional collectibles won’t make you money. But they might make you happy, and sometimes that’s worth more than the resale value. Just don’t fool yourself about which one you’re after.
