Between selfie, toy and protective armour – what AI action figures reveal about us – the new narcissism in a blister pack

Introduction: What is behind the trend?

For weeks, images that look like toy packaging from the 90s have been popping up on LinkedIn, Instagram and TikTok: inside, neatly placed and accessorised, are not superheroes, but ordinary people. The person as an action figure, equipped with a laptop, coffee mug or microphone – in a plastic box that says more about our present than many status updates. The trigger: a new ChatGPT update that generates an image from text input and a selfie. The process is simple, the result striking. And that's exactly why the trend is so successful.

What at first glance appears to be a viral gag touches on deep psychological layers. The action figure is a hybrid of identity design, social code and digital coping strategy. It allows us to create maximum presence with a minimum of disclosure – while also offering an ironic playing field for reflecting on our own self-image.

In its aesthetics, it is reminiscent of childhood and pop culture, but in its function it fulfils deeper longings: for control over one's own image, for visibility without vulnerability, for belonging in a fragmented public sphere. At the same time, it acts as a defence mechanism against the complexity of the present – a small symbolic space in which the self can be simplified, packaged and preserved.

She says: ‘I belong.’ But she says it in a way that allows distance. She is both an invitation and a boundary. This is precisely what makes her so fascinating.

Between visibility and the need for protection

Digital self-staging is no longer just about authenticity, but about a sensitive balance: being visible without completely revealing yourself. The AI-generated action figure gets to the heart of this. It abstracts the self, stylises it and visually frames it. It does not represent reality, but a controlled version of it – a kind of emotionally safe zone in the space of public self-presentation.

For many people, especially those with a keen sense of social judgement or a pronounced need to protect their boundaries, this form of presentation has a relieving effect. It allows them to be present without being vulnerable. They can show themselves, but only within a framework that they themselves have designed. The figure replaces the selfie because it minimises risk while allowing more expression.

From a psychological point of view, you could say that the figure is a projection screen in which closeness becomes possible without the subject having to be completely available. In its packaging, it is not closed, but protected. This makes it accessible – even to people who struggle with the classic visibility logic of social media. It is not just a gimmick, but a serious medium of interpersonal communication in the digital space.

For people who tend to be introspective or who are afraid of judgement, the figure offers a kind of psychological armour. It is an object of protection: personal, but not private. Approachable, but not vulnerable. A curated presence that combines play and seriousness.

The return of play to the adult world

The hype activates the memory material of an entire generation at a subconscious level. Those who grew up with action figures immediately recognise the symbolism: controllable hero figures, packaged, clearly defined. It's about miniaturisation, about order, about the feeling of ‘I have everything under control’ – at least on a scale of 1:18. In a world that seems increasingly complex, contradictory and crisis-prone, this representation offers a kind of nostalgic relief. It gives the chaos of the present a form, a framework – even if it is only digital.

From a psychological point of view, it is a form of playful regression that is not childish, but creative. It allows the ego to temporarily withdraw, to reorder itself and to design a digestible version of itself. This game is not a step backwards, but a form of inner reorganisation. Especially in adulthood, when flexibility and self-representation have become requirements, the symbolic figure appears as a simplification that protects and organises.

You could also say: the action figure is a replica of myself – but in a version that I can live with. I can design it, rearrange it, change it. It is stable and variable at the same time. It says: ‘I am many things – but I'll keep this short.’

FOMO, peer pressure and the ‘I'm in’ signal

Another strong driver behind the proliferation of the platform is FOMO. The ‘Fear of Missing Out’ is no longer a marginal phenomenon, but part of everyday digital life. Those who don't post a figure don't appear absent, but clueless. In social networks, this creates a subtle pressure to participate – not just to ‘play along,’ but also to be considered up to date.

The action figure thus becomes more than just an image. It becomes a social code that signals visibility and connection. It functions as a ticket to a shared present: ‘I know what's happening right now’ – and I also know how to play it culturally correct.

This results in a double movement: on the one hand, individuals are integrated into the collective game of the platforms. On the other hand, they retain control over their presentation through irony and design choices. It is precisely this interplay between belonging and individualisation that makes the trend so accessible.

The character shows that you are tech-savvy, know new features, and are part of the collective game. The image says, ‘I know how to belong.’ And that is precisely where its social power lies.

From selfies to symbolic figures: AI overwrites the self

Just a few years ago, a selfie was enough to project one's image to the outside world. Today, this image is being replaced by a description – a text surface that is translated into a visual result by an AI. What emerges is not a photograph, but an interpretation. Not ‘I am this’, but ‘I could be like that’ – charged with ideals, irony, social code.

This shift has profound psychological implications. The representation of the self becomes an active creative process that has more to do with rhetoric than with depiction. The character becomes the answer to the question: How do I tell my story in a way that fits into the digital public sphere without losing myself?

The generated figures are not a mirror – they are a kind of visual essay. A condensed expression of how we want to be perceived, without defining ourselves. They function as a symbolic offer: ‘Take this image, understand it correctly, and include me in it.’

So that a new relationship to visibility arises. It is no longer what is that becomes visible, but rather what seems connectable. The image is no longer a mirror, but a performative surface. A representation of the self in the mode of the possible, not the actual.

Narcissism or a protective gesture? A psychoanalytic view

Critics accuse the trend of superficiality or even narcissism. And indeed, it is worth not hastily invalidating the concept of narcissism here. As Hans-Joachim Maaz emphasises in his book Die narzisstische Gesellschaft (The Narcissistic Society), a new form of narcissism has established itself in our culture – one that is not primarily characterised by grandiosity, but by compensatory self-representation.

The action figure fits surprisingly well into this picture. It provides a surface that attracts attention without revealing too much. It combines the need for recognition with the desire for protection. The staging of the self becomes a strategy against the experience of lack, insecurity and a lack of relationships – typical symptoms of narcissistic late modernity.

From a psychoanalytical point of view, however, the figure remains ambivalent. According to Lacan, it would be an object in the imaginary space – a staging of the ‘I-for-the-other’. It stabilises the self-image through reflections that are not random but algorithmically mediated. The subject encounters itself – but only in the packaging that can be commented on, liked and shared by others.

In this sense, the figure is both a protective gesture and a narcissistic reflex. It allows self-aggrandisement and distancing at the same time. It is an attempt to create a relationship without entering into a relationship. And that is precisely why it strikes a chord in a society in which visibility has become the central currency – even if it is plastic.

Irony as social intelligence

The tone of the posts is rarely serious. There is usually a touch of irony in the captions, in the texts accompanying the stickers, in the choice of accessories. ‘Remote Only’, ‘Starter Pack’, ‘Too Many Tabs Open’ – all this not only points to a humorous self-assessment, but also to a fine social intelligence: those who present themselves with self-irony demonstrate a reflective distance from their own actions.

From a psychological point of view, this irony serves a dual function. On the one hand, it protects us from exposure – it acts as an emotional shield against the potential embarrassment of presenting ourselves. On the other hand, it serves as an access code to a certain digital culture of conversation. Those who talk about themselves ironically are saying: I understand the rules. I can connect without chumming up.

In this way, irony becomes a form of social intelligence. It allows you to be part of something without revealing yourself completely. It gives the character depth without overloading them with meaning. And it acts as a wink in a world where seriousness is quickly read as weakness.

At the same time, it marks belonging: those who get the ironic tone right show that they understand the code. So the action figure is not just an image, but a comment. It says: ‘I don't take myself too seriously – but I know what's going on here.’

Conclusion: the figure as a diagnosis of the present

The action figure trend is more than just viral hype. It is a psychological marker for the state of our digital identities – and at the same time a mirror for social processes of isolation, excessive demands and the longing for belonging. The figure allows what everyday life often does not: to show oneself without having to expose oneself completely. It provides support where there is insecurity. It creates connection where relationships are diminishing. And it offers symbolism where words are lacking.

In its form, it combines nostalgia with technology, retreat with publicity, narcissism with irony. It is a reaction to the demands of a culture of visibility that repeatedly demands closeness but rarely offers real connection. The action figure compensates for this gap by presenting a symbolic self that is designed to be connectable, commentable and aesthetically pleasing – but never quite real.

In this sense, it is not a harmless toy, but a cultural substitute: for the self, which needs to be present but can no longer find the words. For the relationship that is sought but only works in images. For the subject that communicates itself – but as a figure rather than as a human being.

Perhaps that is precisely its core: it offers not resolution but relief. Those who post an action figure say: ‘I'm here – but please in my own way.’

Questions and answers about the action figure trend

What exactly is the action figure trend on social media?

These are AI-generated images that depict real people as stylised collectible figures wrapped in plastic. Users describe themselves in a short text and upload a selfie – the result is an image that is strongly reminiscent of childhood toys and at the same time signals social belonging.

Why does the trend inspire so many people?

Because it allows personal representation without demanding intimate insights. The figure is individual but distant – a form of controlled visibility that is particularly attractive on social media.

What does this have to do with childhood or nostalgia?

Many people associate action figures with their own childhood. The format activates unconsciously familiar patterns: order, control, recognisability. In a complex present, this symbolic return creates a form of relief.

What role does FOMO play?

The trend is spreading quickly because it functions as a visible sign of belonging. If you don't post a picture, you run the risk of being seen as uninformed or uninvolved. The fear of missing out drives participation.

How is AI changing our self-image?

The image is no longer created directly from a photo, but from texts, moods and role models. AI translates language into visual identity. This makes the self-image more fluid, more symbolic – a performative act rather than a representation.

Is it all narcissistic?

Partly yes. The action figure fulfils typical functions of narcissistic self-stabilisation, as described by Hans-Joachim Maaz: generating recognition without showing oneself completely. At the same time, it protects against excessive demands by providing a clear visual framework.

Why is irony so important here?

Irony protects against shame. Those who present themselves ironically signal reflection – and that they understand the cultural code. Irony creates distance and belonging at the same time.

What does the trend say about our society?

It shows how much we long for visibility – while at the same time needing protection. The action figure is not a toy, but a symbol of our time: for insecurity, creative self-assertion and the digital search for relationships.