Rick and Morty’s general formulation consists of the alignment of two conflicting scenarios: a very selfish and alcoholic grandfather who drags his grandson for intergalactic and interdimensional adventures mixed with domestic family dramas. This makes Harmon portray the series as a cross between two shows of Matt Groening The Simpsons and Futurama, which balances family life with heavy science fiction. The series is inspired by English-style stories, as opposed to traditional American family TV stories. Roiland has stated his intentions and Harmon for the series in order not to have regular continuity, choosing an uninterrupted “unbound by rules” storyline. In producing the series’ first season, episodes are sometimes written in no order. For example, “Rick Potion # 9” is the second episode written for this series, but instructed to be the fifth animation, because it makes more sense in the continuity of the series.
Many episodes are compiled using a story circle, a Harmon creation that is based mainly on the pulpit of Joseph Campbell, or The Hero’s Journey. Its two-action structure places the action at a strange location at the monomyth stage: after the Meeting with the Goddess, not the Redemption with the Father. Harmon has stated that his inspiration behind the many concepts and humor for this series comes from various British television series, such as The Hitchhiker’s Guide to the Galaxy and Doctor Who. He said that the audience would only understand the progress from Morty’s point of view, but stated: “we do not want to be friends.” We want to hang out with Doctor, we idolize the Doctor, but we do not think like him, and that’s interesting, Rick is sick, he is mentally ill, he is an absolute madman because he lives on this larger scale. ”
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Harmon has noted that the space of writers in the studio shows a striking resemblance to that used for the Community. In comparing the two, he notes that the writing staff of Rick and Morty is significantly smaller and more “rough and verbally disorganized”. The writing staff of the first season consisted of Roiland, Harmon, Tom Kauffman, Ryan Ridley, Wade Randolph, and Eric Acosta, while assistant writer Mike McMahan was also given a writing credit. Described as “a tiny chamber with a lot of heavy lifting from everyone,” the writing staff of the event, like much of Sult Swim’s production, is not combined with the Writers’ Guild of America. The writing staff first met and discussed the idea, which developed into a story. Discussions often include anecdotes from personal life as well as thoughts on the science fiction genre. After breaking the story – consisting of consistency development and logical beginning, middle, and conclusion – a writer is assigned to outline. Roiland and Harmon do a “pass” on the outline, and that’s where the episode undergoes some more concepts. One of its creators approved the last draft of the final manuscript. Harmon has admitted that his perfectionism can sometimes disrupt and cause delays in writing schedules. For the most part, this is the reason why the third season of the show consists of only ten episodes, not fourteen, as initially intended.