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  • Hey guys, this is Jared - one of the creators here at Wisecrack. Today were talking about

    大家好! 我是傑瑞,我是 Wisecrack 的創始人之一,今天我為大家介紹

  • one of the best shows on TV right now and a personal favoriteRick and Morty. We know


  • youre probably jonesing for some new episodes after the year-and-a-half wait was announced,


  • "Tune in to Rick and Morty Season 3 in like, a year and a half."


  • So we wanted to hold you over with an analysis of Rick and Morty so far: the philosophy,


  • the science, and everything you missed while you were laughing at the dick jokes.


  • Rick and Morty chronicles the exploits of a mad scientist and his naive grandson as


  • they go on deeply irresponsible, and awesome, space adventures. It’s more or less the


  • plot of Back to the Future, but Doc is a gassy alcoholic — "I agree, Morty!" — Marty, er, Morty never tries to


  • hit on his mom, and the two travels through alternate dimensions rather than time.


  • Rick and Morty is deeply rooted in the traditions of sci-fi horror, often paying homage to things


  • like Ghostbusters, filmmaker David Cronenberg — "Boy, Morty, I really Cronenberged the world up, didn't I?" — Nosferatu, and Freddy Kreuger to name a few.

    崇敬一些人像是打鬼特攻隊、電影製片 David Cronenberg, Nosferatu, and Freddy Kreuger 等人

  • "Looks like some legally-safe knockoff of an 80's horror character with miniature swords for fingers instead of knives."


  • The show even references Zardoz — a camp classic and guilty pleasure of mine. Nowhere else


  • will you get to see Sean Connery in a futuristic space thong. But seriously, see this movie,


  • it’s actually really smart.


  • while the show pays homage to a wide spectrum of sci-fi and horror, it has an affinity for


  • a particular sci-fi tradition: cosmic horror. Pioneered by literary horror legend HP Lovecraft,


  • the cosmic horror genre emphasizes the the terror of that which is outside our grasp


  • to comprehend. Like Lovecraft, Rick and Morty uses the cosmos as a way to explore deep philosophical


  • questions by imagining what lies hidden in the black depths of space. The show opening


  • even makes a visual reference to Lovecraft’s Cthulhu.


  • Cosmic horror goes way beyond cheap jump-scares. It presents us with the vast unknown and unimaginable


  • that simultaneous feeling of fright, disgust and dread that we feel as whatever lurks


  • in incomprehensible space suddenly comes crashing into our own reality.


  • Rick’s portal gun is constantly confronting us with this unknown. As he jumps head-first


  • into other realities, the results are sometimes horrifying, sometimes hilarious, and sometimes


  • both.


  • Occasionally, that reality comes to us, particularly in the episodeGet Schwifty.” Earth is

    有時候,故事裡也會現實的情景,尤其有一集「Get Schwifty」

  • approached by a giant space head whose sheer gravitational mass causes mayhem on Earth’s


  • eco-system. The giant head commands the entirety of Earth to show him what theyve got.


  • "Show me what you got!"


  • A cult soon develops to worship this cosmic entity and Rick, realizing the head is a Cromulon,


  • informs the president that they have to come up with a hit song and win the intergalactic


  • equivalent of America's Got Talent — "It's Schwifty time today" — or be disintegrated by a giant space laser.


  • Giant floating cosmic entities aren’t anything new in the science fiction universe. Our old


  • friend HP Lovecraft used the idea constantlydeveloping a race ofGreat Old Ones


  • who he describes in books likeThe Call of CthulhuandThe Dunwich Horror.”


  • There’s a few interesting questions that big floating scary things bring up. First,


  • cosmic horror begs the question: "are we significant?" Most science fiction is convinced that humanity


  • is, metaphorically, the center of the universe. Whether were battling the empire or trying


  • to get all the aliens to just be friends. Humanity, or things that look like humanity,


  • take center stage. Cosmic horror inverts that premise and asks the question: "What if the


  • universe doesn’t give a shit about us?"


  • For the Cromulons, humanity is merely an object of entertainment. Annihilating a planet is


  • not an act of spite or cause for concernit’s just something you do. — "There's one every season." — Cosmic horror is full


  • of these giant entities that demonstrate just how insignificant humanity actually is, and


  • that’s what is really terrifying, or in the case of Rick and Morty, kind of hilarious


  • in a dark, dark way.


  • In the bookIn the Dust of This Planet,” contemporary American philosopher Eugene Thacker

    在「在這個星球的塵土中」這本書裡,美國當代的哲學家 Eugene Thacker

  • describes thisCosmic Pessimismprevalent in the horror genre that imagines a “world without us


  • and thinks through the universe asabsolutely unhuman, and indifferent to the hopes, desires


  • and struggles of human individuals and groups.”


  • The show embodies this cosmic pessimism almost perfectly. Rick and Morty even die, only to


  • be replaced by one of the infinite other versions of themselves in an alternate reality

    又被其他替身所取代,出現在另類的現實裡 (第一季第六集)

  • Not only are we but a speck of dust on a tiny blue marble in the cosmos at


  • large, were also like one of an infinite amount of the exact same speck of dust. — “There's an infinite number of realities, Morty."


  • Rick and Morty doesn’t want us to be terrified of our own insignificance, it want us to laugh


  • at it.


  • Even though we are but specks of dust to these cosmic horrors, we too are the cosmic horrors


  • to other specks of dust. InThe Ricks Must Be Crazy,” we learn that Rick’s car battery


  • is powered by a micro-universe whose sole purpose is to perform an inane task: produce


  • energy. And, in that universe, they invent another mini-universe. And


  • so on, and so on. Rick might as well be one of Lovecraft’s cosmic deities to the denizens


  • of the microverses. It’s like cosmic inception, brah. — "It's like Inception, Morty."


  • In a multiverse beyond our comprehension, with infinite possibilities, values and meaning


  • start to slip away. — "What about the reality where Hitler cured cancer, Morty? The answer is 'don't think about it'" — All that can remain is pessimism.


  • "Oh boy, whaoh my god, no!"


  • Which brings us to our next section on the existentialism of Rick and Morty.


  • Rick and Morty addresses the question of our very existence in almost every single episode.


  • "Existence is pain to a Meeseeks, Jerry!" "Nobody exists on purpose, nobody belongs anywhere, everybody's gonna die."

    「傑瑞,存在對 Meeseeks 就是痛苦」「沒有人是因為什麼目的存在的,沒有人屬於哪個地方,大家都會死」

  • On one hand, we have the cosmic insignificance of humanity as a whole, and on the other,


  • we have the frivolity of individual human life. “That's my grave." The show offers us two examples of how


  • to respond to our pathetic existence through Rick and Jerry.


  • First, we have Jerry, who is seemingly oblivious to the soul-crushing mediocrity and pointlessness


  • of his own life. He is literally more happy in a poor simulation of the world than his


  • actual life. — "I... am... finally complete." — Or, as Arthur Schopenhauer might well have described Jerry’s life: “The


  • life of every individual, viewed as a whole and in general, and when only its most significant


  • features are emphasized, is really a tragedy; but gone through in detail it has the character


  • of a comedy.” Jerry is a failure: he’s unemployed, his wife hates him, and he’s


  • not exactly the sharpest tool in the shed. But one can argue that Jerry is better off


  • than the belligerently drunk Rick, because he’s simply too dumb to realize that his


  • life is pointless. But in this ignorance, Jerry seems content toiling away for the sake


  • of nothing.


  • "Life is effort, and I'll stop when I die!" — Then, there’s Rick, who understands the meaninglessness of life and accepts it. But


  • despite Rick’s sarcasm and nonchalant attitude towards pain and suffering — "Hold your breath!" "Wait wh- wh- wh- what the hell, Rick?!" — he’s also an


  • alcoholic whose catchphrase means “I am in great pain.” — “Do you know what 'wubalubadubdub' means? It means 'I am in great pain. Please help me.'"

    他仍然是個酒鬼,口頭禪是「我好苦!」「你知道 wubalubadubdub 的意思嗎?意思是我好苦,救我!」

  • The pure rationalism of the universe furthers the feeling of insignificance of our own lives.


  • Were left with a paradox. Science allows us to make some sort of sense of the universe


  • through formulas and theorems, but we as humans are left confronting the bleak, arbitrary


  • nature of our own existence. — "Yes I'd like to order one large sofa chair with extra chair, please." "High chair. No no no, recliner." — Science can reason away any sense of sanctity or emotion and


  • turn the human experience into something meaningless. Rick takes time out of avoiding his own pending


  • death to explain, mathematically, that Summer and Morty are both pieces of shit. Rick goes


  • on to rationalize away his feelings for Morty, explaining that their bond is only an easy


  • way to hide Rick’s genius brain waves — "You're as dumb as I am smart!" — from the intergalactic po-po. In another episode,


  • Morty, as Roy, grows up and dies in a video game. After losing, he briefly forgets his


  • own existence. — "Where's my wife?" "Morty, you were just playing a game." — The audience is left to question what exactly separates the fake reality of


  • theRoygame to his own existence. After all, if Morty remembers hisfakelife


  • and experiences all the emotions and sensations that constitute our own consciousness, what’s


  • the difference? Rick and Morty is constantly playing with this dichotomy between meaningless


  • simulations and our actual life.


  • If we recoil from the idea of living a “fakelife inside a video game, it’s because we


  • ascribe some meaning to the authenticity of our own waking life. But Rick and Morty is quick to display


  • for all to see that this is a giant crock of shit. What’s the difference between killing


  • the memory parasites whom the family feels genuine emotion for, and shooting, say, Mr.


  • Poopybutthole?


  • This crisis of values, of our own meaning in life, is taken up by tons of existentialists,


  • but Friedrich Nietzsche is particularly helpful here. Nietzsche tells the parable of the madman,


  • who comes into town screamingGod is dead!...And we have killed him!” What Nietzsche was

    狂人跑到城裡大喊: 「上帝已死,我們殺死上帝了!」

  • really trying to say that is after the Enlightenment and the scientific revolution, the big being


  • in the sky that gave value to our lives was no longer relevant. After the death of God


  • in philosophy, what remains is nihilism — a void of meaning. "My life has been a lie! God is dead! The government is lame! Thanksgiving is about killing Indians!"


  • This struggle over the lack of meaning is what defines Rick Sanchez. Rick’s uses science


  • to demystify everything. "Does evil exist? And if so, can one detect and measure it? Rhetorical question, Morty. The answer is 'yes, you just have to be a genius'" — Love is just a set of chemical reactions. — "What people call 'love' is just a chemical reaction that compels animals to breed." — He even


  • beats the devil and, in a way, actively plays out the death of God. — "Yes! F*** you, God!" "Yes, I did it! There is no god! In your face!" — Were constantly left


  • wondering: what does Rick care about, if anything at all?


  • Rick’s character embodies a tension between a kind of active and passive nihilism. The


  • passive nihilist, for Nietzsche, is resigned to the hopelessness and meaninglessness of


  • life. The active nihilist, however, actively seeks to destroy the old values and start


  • anew. — "Well, scientifically, traditions are an idiot thing." "A bomb?!" "I'm gonna drop it down there, just get a whole fresh start." — It’s clear that something makes Rick tick, were just not sure what. After all,


  • he’s labeled as an international terrorist fighting for something and eventually, he gives


  • himself up to save his family. Rick’s actions may seem paradoxical, if only because he himself


  • is struggling to make meaning out of the universe.


  • The show also does its part to interrogate our own sense of morality, refusing to draw


  • clear lines between right and wrong or good and evil. — “I will kill anyone, anywhere. I just love killin'!" — Morty’s attempts to be a do-gooder


  • are always thwarted. After freeing a group of people from the body-snatching Unity, a


  • nipple-driven race war commences between the now-freed rabble of pedophiles and prostitutes.


  • When confronted with the grim consequences, Summer aptly replies “I didn’t know freedom

    我們看了令人沮喪的結果,桑瑪適時的說: 「我搞不懂自由

  • meant people doing stuff that sucks.”


  • Here lies another existential question: What is biological life withoutliving?” — “Listen,

    這裡也有一個存在主義式的問題: 「非活著的生物體究竟是什麼」

  • Unity, I don’t think my sister is trying to say life would be perfect without you,


  • it would just be, ya know, life” — If we, the audience are repulsed by the thought of


  • body-snatchers, the show also makes us consider the fact that our irrational attachment to


  • freedom is what allows us to live in a world that’s oh-so-terribly fucked up.


  • Another way to look at the existential question in Rick and Morty is through the work of Albert


  • Camus, specifically in Meeseeks and Destroy. — "I can't take it anymore! I just wanna die! We all wanna die, we're Meeseeks!" — The central tenant of Camus’ “absurdism

    特別在有一集叫 Meeseeks 和破壞,中心主題是卡謬的荒謬主義

  • is that life consists of two irreconcilable facets: the human tendency to find meaning


  • in life, and the universe’s complete indifference to our existence. In Rick and Morty we see


  • the antithesis of this in the Meeseeks. — “Meeseeks are not born into this world fumbling for

    我們看到的是 Meeseeks 的對比法, Meeseeks 生下來不是在找生命的意義

  • meaning, Jerry! We are created to serve a singular purpose for which we will go to any


  • lengths to fulfill!”. For Camus, human life was exactly the opposite, as illustrated in


  • the myth of Sisyphus, the king who was sentenced to spend an eternity pushing a boulder up


  • a hill, only for it to fall back down upon completionover, and over again. Or, for Jerry, it’s not a boulder,


  • but his golf swing. And then, there’s this: "Earth Rick C137, the Council of Rick sentences you to the machine of unspeakable doom, which swaps your concious and unconscious minds, rendering your fantasies pointless while everything you've known becomes impossible to grasp."

    而是他的高爾夫球揮桿,然後還有「瑞克地球 C137,瑞克委員會判你去無法言語的巨彈星球器裡,它會把你的意識和無意識變成無意義的東西,你那些幻想都會變成亂七八糟,你所知道的事都變不見了」

  • Many characters in the show, rather than seek meaning for their own existence, simply resent


  • their creators for bringing them into the world. — "I didn't ask to be born!" — We see this Frankenstein complex not


  • only in the Meeseeks — "He roped me into this!" "Well that one over there roped me into this!" "Well he roped me into this!" — but in Abradolf Lincler — “You brought me in to this world,

    不只在 Meeseeks 這集裡,在另一集亞柏汗林肯裡也出現,「他把我弄到這兒來!」「瑞克,是你把我帶到這個世界