Adventure Time and the Philosophy of Objects: How the Land of Ooo Embodies Object-Oriented Ontology

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Adventure Time is much more than a whimsical tale of a boy and his magical dog exploring a surreal landscape. Beneath its quirky exterior, the show presents rich philosophical themes, many of which align with Object-Oriented Ontology (OOO).

By focusing on objects and entities such as BMO or Finn’s Grass Sword, we can see how the Land of Ooo becomes a stage for exploring the autonomy, agency, and intrinsic value of objects beyond their human utility.

BMO, the sentient gaming console and companion of Finn and Jake, exemplifies the principles of OOO. On the surface, BMO appears to be a tool for entertainment, a device created to serve humans. However, episodes like “BMO Noire” reveal a deeper essence. BMO is not defined by its function as a gaming console but by its autonomous desires, thoughts, and relationships.

BMO navigates crises of identity and existence that are independent of Finn and Jake. It dreams of being a “real boy,” engages in complex emotional narratives, and even adopts different personas to explore its individuality. This aligns with OOO’s assertion that objects have a reality beyond their interactions with humans. BMO is not merely a passive object; it actively shapes its own narrative and the world around it.

In another poignant episode, BMO befriends a bubble that floats into its path. The bubble becomes a companion, and BMO projects complex emotions and narratives onto it, treating the bubble as a full-fledged being. Together, they embark on a journey where the bubble, named “Bubble,” helps BMO find a path back home.

Eventually, Bubble expresses its true feelings for BMO, proposing marriage. BMO happily accepts, only for Jake to inadvertently pop Bubble, believing it to be just an ordinary bubble.

As BMO mourns, the remnants of Bubble’s voice reassure them, revealing, “I am air now.” This moment highlights the transient yet eternal essence of Bubble, whose presence, now as air, promises to remain with BMO forever.

As Harman explains, “there must be some surplus in things that is both deeper than its effects and shallower than its constituent pieces.” Bubble’s transformation shows that even when its physical form is gone, there remains a surplus (an enduring essence) that continues to affect BMO’s life.

This poignant narrative encapsulates the OOO idea that even the most ephemeral objects, like a soap bubble, hold profound meaning and agency.

Fern, also known as “Grass Finn,” exemplifies how objects and entities can merge and transform into entirely new beings with agency and purpose. Fern is born from the fusion of the Grass Sword and the Finn Sword, a temporal variant of Finn.

This fusion occurs after Finn accidentally breaks the Finn Sword during a fight, causing the Grass Sword’s demonic energy to envelop the fragmented essence within the Finn Sword. Over time, this fusion develops into a new entity: Fern.

Initially, Fern appears as an amorphous mass of grass, but he gradually takes on Finn’s shape and identity. However, Fern believes himself to be the “real Finn,” accusing the original Finn of being an impostor. This existential crisis mirrors the struggles of identity and essence explored in OOO and also resonates with the paradox of the Ship of Theseus.

As Graham Harman notes, “In fact, there is always a deep wedge between objects and their qualities, and indeed this principle is the cornerstone of OOO method in every field it has entered.” Fern’s essence cannot be fully captured by his resemblance to Finn or the memories he shares; his being is something irreducible that persists beyond those qualities.

Fern’s emergence is not simply a result of human action; it is the culmination of the Grass Sword’s and Finn Sword’s own latent energies and desires, reflecting OOO’s assertion that objects have their own trajectories and realities.

Fern’s eventual rejection by Finn and Jake leads him to a profound sense of alienation. He retreats, embodying the idea that objects, like beings, can experience existential disconnection. Fern’s narrative underscores the complexity of objects — they are not merely tools or extensions of their creators but autonomous entities with their own struggles, growth, and transformations.

One of the most compelling aspects of Adventure Time is its willingness to decenter Finn, the human protagonist. The Land of Ooo is populated by objects, beings, and environments that have their own stories, independent of human narratives.

There is an ironic harmony here: even the name ‘Ooo’ evokes the philosophy of Object-Oriented Ontology (OOO), perfectly reflecting the show’s thematic focus on the autonomy of objects.

As Harman writes, “All objects must be given equal attention, whether they be human, nonhuman, natural, cultural, real or fictional.”

Characters like BMO, Fern, the Ice King’s crown, and even the Candy Kingdom itself demonstrate that the world is not anthropocentric, but a vibrant network of autonomous beings.

The Ice King’s crown, for example, is an object with immense agency. It defines the Ice King’s identity, driving him to madness while preserving his life. The crown’s impact on its wearer underscores the idea that objects have power and influence that exist outside of human intentions.

Similarly, the Candy Kingdom’s ruler, Princess Bubblegum, often appears as an extension of her kingdom, blurring the line between object, environment, and being. This narrative focus invites viewers to consider the lives of objects beyond their immediate human-centric utility.

Like Buzz Lightyear in Toy Story, Finn undergoes crises of identity and belonging throughout the series. His interactions with objects like the Grass Sword, BMO, and Fern help him navigate these existential dilemmas. Finn learns to “reterritorialize” himself, adapting to new realities by embracing the agency and value of the objects around him.

For instance, Finn’s relationship with BMO evolves from viewing it as a companion-object to recognizing its individuality. Similarly, his bond with Fern forces him to confront the complexities of identity and the boundaries between self and other. Fern’s struggle to find his place in the world mirrors Finn’s own journey, highlighting the interconnectedness of beings and objects, a central theme in OOO.

Adventure Time is a vivid illustration of Object-Oriented Ontology, where objects are not mere tools or backdrops but vital participants in the narrative.

As Harman emphasizes, “objects — whether real, fictional, natural, artificial, human or non-human — are mutually autonomous and enter into relation only in special cases that need to be explained rather than assumed.”

Through characters like BMO, Fern, and the Grass Sword, the show explores the hidden essence, agency, and autonomy of objects, treating their encounters as rare and meaningful events rather than inevitable interactions. It challenges the anthropocentric view of the world, inviting us to see objects as entities with their own realities and relationships.

As we reflect on the Land of Ooo, we might ask ourselves: what stories and meanings do the objects in our own lives hold? By embracing the philosophy of OOO, we can begin to appreciate the vibrant, interconnected world of objects that surrounds us.

Much like Finn and Jake, we might find that adventure lies not just in exploration but in recognizing the value and agency of everything — and everyone — around us.

This text was originaly published on The Brazilian Mutt on December 10th, 2024.