Der Überstachenmensch. Despite the resemblance, not Jamie Hyneman.
"Gods, too, decompose. God Is Dead. God remains dead. And we have killed him."
— Friedrich Nietzsche, The Gay Science, Aphorism 125 ("The Madman"), 1882 *
Fun fact: the quote "God is dead" already appears in a text of G.W.F. Hegel from 1802, eighty years before Nietzsche's book was published.
Friedrich Wilhelm Nietzsche (pronounced [ˈniːtʃə] NEECH-uh) was an eccentric German author who wrote lots of books, laden with extremely provocative and controversial ideas for his time, and they made him famous. Nowadays, he is often placed among the most influential philosophers of all time. It didn't end well for him back in his day, though, as he went nuts and soon died in his fifties.What made his books so popular? Good question. Probably, his writing style. In any event, his aphorisms can be quoted often; whatever one thinks of his ideas, he is one of the unquestionable masters of the German Language. Nietzsche is one of the few philosophical writers one might conceivably read simply for the joy of reading his prose. Of course, that could very well be part of his intellectual trap. One never knows with Nietzsche. See the Analysis tab for more.Nietzsche's influence is hard to calculate, but is indisputably immense. He founded the modern philosophical position of Existentialism along with Søren Kierkegaard, laid the groundwork for the later philosophical position of Phenomenology, and became a precursor for the philosophical position of Post Modernism. His criticism of Christianity had a profound influence on 20th century theology, especially the work of Paul Tillich. He is also famous for predicting World War I (down to the decade, and while insane, no less), the destruction of the German empire, and the role that antisemitism would have in its demise. After his death, his estate went to his sister, who later became a stout supporter of the National Socialists; and the provocative tone and controversial subjects of his writing made it easy to subvert them for Nazi propaganda. Even today, many of his famous quotes lend themselves to be used for all kinds of extremist views and also their opposites.He is also one of the mostly unsung heroes of psychology, along with the American, William James. They contemporaneously (but separately) started treating the contents of the human mind with the nuance and seriousness we have come to expect, and in being the first to do so helped to make psychology a respectable and popular area of academic study that would later fully take off with Sigmund Freud, who particularly read Nietzsche as a student*
although Freud denied this despite evidence on the contrary
, and his contemporaries.Fittingly for his view that "all is art," he also wrote a fair amount of decent Romantic classical music.Lastly, his name is spelled with one T, one Z, one S, one C, and one H. It's pronounced roughly as "Neat-chuh", though the French (who tend to be bigger-than-average fans) monosyllabically pronounce it "Neache". "Nee-chee" is generally also an acceptable pronunciation, often used by English speakers. Just, whatever you do, do not try to pronounce the "Z" and you should be alright.
The Birth of Tragedy (1872): Nietzsche's first book, it deals with the philosophy of art and many other things. Nietzsche critiques Socrates for killing Greek Tragedy by demanding that the search for truth take primacy over art, resulting in a society that hates the creative and loves death, with the prospect of starting of a new Renaissance of tragedy through Opera, particularly Richard Wagner's. He presents as his solution the concept of a "music-making Socrates", who embraces art even as he philosophizes.
"On Truth and Lies in a Nonmoral Sense" (1873): The quote in Straw Nihilist comes from this one. Not actually a book (although it's as likely as any of his books to find its way into an anthology - I'm looking at you, Norton!) but a fragment that Nietzsche himself did not publish.
Untimely Meditations (1876): A collection of four essays, as follows:
"David Strauss: the Confessor and the Writer" (1873)
"On the Advantage and Disadvantage of History for Life" (1874). Also translated "On the Use and Abuse of History for Life." This one is fairly often published on its own, as it condenses into a single, fairly short essay (less than 80 pages) one of Nietzsche's fundamental concepts: the idea that while Hegel was right about the dialectic, he was wrong about the "absolute moment" at which humanity discovers the fundamental truth, because there is no fundamental truth other than constant change.
"Schopenhauer as Educator" (1874)
"Richard Wagner in Bayreuth" (1876): One of Nietzsche's earliest critiques of Wagner, even though he and Wagner were still friends at the time.
Human, All Too Human (1878): His first book written in an aphoristic style. A few years later, Nietzsche decided that it wasn't entirely complete, and added to it...
The Wanderer and His Shadow (1880): Unusual for Nietzsche, comes the closest to touching on matters of political philosophy, with meditations on armament and war (he doesn't like them, and thinks the first leads to the second), the state (it sucks), and economics (capitalism and socialism both dehumanize people).
Daybreak (1881): Also translated as The Dawn. One of Nietzsche's more neglected works, overshadowed as it was by the works before and after it. The subtitle, Thoughts on the Prejudices of Morality, provides the best idea of what it is about.
Also Sprach Zarathustra (1883): Arguably his most popular work. Unusually for a post-Platonic Western philosophical work, this is actually a work of fiction; specifically, it is a novel, complete with plot (although you might not notice). It features as its main character Zarathustra, a former hermit philosopher who, despite having the same name as the prophet of ancient Zoroastrianism, is really an almost-but-not-quite Author Avatar for Nietzsche himself. Thus Spoke Zarathustra popularized the concept of the Übermensch. Sadly, it does not play epic music when opened.
On the Genealogy of Morality (1887): Finding that even his smarter friends found Beyond Good and Evil too difficult to understand, he wrote On the Genealogy of Morality as an explanation for Beyond Good and Evil, composed of three sections ("'Good and Evil', 'Good and Bad'," "'Guilt,' 'Bad Conscience,' and Related Matters," and "What do Ascetic Ideals Mean?"). It is one of Nietzsche's few mature works written in essay/treatise form (rather than as aphorisms). So essentially, it's the explanation of the explanation to Thus Spoke Zarathustra.
The Case of Wagner (1888): A polemic against Richard Wagner, or rather what Wagner stood for in the minds of Germans, both in Nietzsche's own lifetime and later.
Twilight of the Idols (1888): Starts with a collection of bare, pithy, one-line aphorisms, and then goes into more detail. Source of the quote "That which does not kill me makes me stronger." In the original German, the title is Götzen-Dämmerung, making the pun on Wagner's Götterdämmerung (meaning "Twilight of the Gods") that much more obvious.
The Anti-Christ (1888): Not The Antichrist itself, but an extended polemic against Christianity. The title can also be translated as The Antichristian, but that would overlook Nietzsche's desire to be as provocative as possible. Of course, even in The Biblenon-Christians are described as the Antichrist, so Nietzsche could well have also been drawing from that.
"Then came Jesus forth, wearing the crown of thorns, and the purple robe. And Pilate said unto them, Behold the man!"
Nietzsche contra Wagner (1888): A selection of passages from Nietzsche's earlier books, designed to show that The Case of Wagner was the culmination of ideas the author had ruminated upon for some time, rather than the product of a momentary malice.
The Will to Power: Again, not actually one of his books, but a collection of his notes; scholars to this day have serious debates whether he had intended to finish this work at all. Either way, the work covers Nietzsche's ideas about the history of nihilism in the West. The subtitle, An Attempt at the Revaluation of All Values, points at the middle part of the work, in which he begins to try to point the way for anyone who might become a proper Übermensch. Recent editions take pains to note that The Will to Power is hardly complete, and really isn't supposed to exist. See above, about his wacky sister, for details.
This section is still under construction. If you've read any of the missing books on the list, please help us by writing a short summary!
Above Good and Evil/What Is Evil?/The Unfettered: Ethics (what is "moral") is pretty much his strong point in philosophy (His contributions on other fields like metaphysics is very inconsistent on the other hand). He also personally calls Platonic / Christian Black and White Morality as "Slave Morality" (i.e. the original Romans originally used "good" (bonus) and "bad" (mala) to imply what was useful or not, but Platonism encouraged the sabotage of these terms and making them metaphysical in order to appeal to slaves suffering in the real world).
He also accuses the Enlightenment of sabotaging the scientific method in order to rehash the same metaphysical (hence scientifically unprovable) version of good and evil in a secular society (e.g., Immanuel Kant's Categorial Imperative, and Utilitarianism), instead of facing the inherent amorality of the modern science-oriented world.
Broken Pedestal: Nietzsche started his writing career as a big fan of Richard Wagner's music and the messages embedded in them, and wrote effusive praise. As time went on, however, Nietzsche became disillusioned with Wagner's bombast and lack of subtlety, and eventually broke with him on Wagner's growing anti-Semitism and German Nationalism. One of his later works is a deconstruction of Wagner's works, both their aesthetic and political qualities.
Perhaps not as sharp a break, but Nietzsche's views on Schopenhauer, who he looked on with some fondness early in his career, turned quite negative by Nietzsche's middle period.
Although he might be going for shock value in this one.
Also, in Beyond Good and Evil:
And it is only for your AFTERNOON, you, my written and painted thoughts, for which alone I have colours, many colours, perhaps, many variegated softenings, and fifty yellows and browns and greens and reds;—but nobody will divine thereby how ye looked in your morning, you sudden sparks and marvels of my solitude, you, my old, beloved—EVIL thoughts!
Contemplate Our Navels: Averted. One of his most important contributions to what would later become Psychology was the observation that introspection and self-analysis are extremely poor tools for figuring out what is actually going on in our heads. This was a complete break with the accumulated wisdom up to that point, and opened up space for Freud's idea of the unconscious mind.
Cosmic Horror Story: He certainly believed Real Life is this, scientifically speaking it's an amoral apathetic incomprehensible universe while we're all going to suffer and die as insignificant and You Can't Fight Fate. Hence the misconception about him as a Straw Nihilist. However, contrary to Lovecraft's apocalyptic narratives, he plays this trope rather positively; the cosmos at large certainly is an incomprehensible crapsack universe with no morality, but this does not mean you should degenerate into The Hedonist. On the contrary, life in a Cosmic Horror Story universe means the freedom to improve yourself and be creative (although his conceptions of self-improvement might be strange). He hated Plato for making humans weak and dependent on hypothetical Cosmic Entities for decision making, meaning that Platonic philosophy (which eventually became Christianity) is responsible for humanity's degeneration into beastlike Apathetic Citizens once they find out that the cosmos-at-large does not give a fuck about their lives.
Creator Breakdown: See below, but the syphilis certainly didn't help his mental state.
It's unlikely that he had syphilis as knowledge of mental disorders were not as advanced in Nietzsche's time as they are today. The Other Wiki expands on the possible causes of his insanity.
Even when the disease does cause madness, it does it progressively over a very long time. Nietzsche went mad almost suddenly.
Cultured Badass: The Übermensch, his "artist-tyrant" ideal of human character, inspired by the Ancient Greek hero. "Tyrant" to be taken into the ancient Greek meaning of the word, as in "leader" rather than "despot".
Darker and Edgier: Nietzsche is considered to be among the Darkest and Edgiest of philosophers, thus a popular way to advertise that your fiction is Dark and Edgy is to write gratuitous Nietzsche quotes and philosophy in them ("that which does not kill me makes me... stranger", "The Abyss Gazes Also", etc.), and people are prone to quoting Nietzsche and imitating his philosophical style to look appear Darker and Edgier (see also: Straw Nihilist). Subverted on the author's part, since while Nietzsche was a fatalist with a Crapsack Worldview, he still considered nihilism as for losers.
Democracy Is Bad: Because, according to him, it is a weapon used by the weak (Last Men) who band up against the strong (Ubermenschen).
Either Or Title: Twilight of the Idols, or, How to Philosophize with a Hammer
The Fatalist/You Can't Fight Fate: His preaching of amor fati is one of the major reasons why he is bashed as a nihilist. Psychologically speaking, ordinary people usually react to fatalism, such as deaths caused by terminal illnesses (like genetic disorders, or the syphilis and mental illnesses he himself suffered), with the perception of life as just one big pointlessAnd I Must Scream, hence causing depression, apathy and/or rage. However, those extraordinary few should reject this suicidal perception, instead both accepting this fatalistic outlook, loving it and living it as if it was an art form (hence a possible wordplay on "Übermensch"). His thought experiment on Eternal Recurrence boils down to how confident people with strong enough willpower can accept the challenge of life over and over again, fully appreciating this And I Must Scream existence and making it joyfully worthwhile without any regrets. This also comes hand-in-hand with appreciating the Ancient Greeks' view on a fatalistic life (e.g., expressing it in the art form of Tragedy, which in contrast to our modern view of Tragedy as a Despair Event Horizon, was appreciated by Greeks as something very much like an Earn Your Happy Ending story. See also Aristotle's concept of Catharsis Factor).
Go Mad from the Revelation: "The Madman" in The Gay Science who announces the death of God seems to have done this, although it's not altogether clear. This is also one of the more poetic ways to explain what happened to Nietzsche himself for the last eleven years of his life.
Gratuitous Foreign Language: Frequently Latin or sometimes Greek, as was common with most intellectual fields at that time, although he was just as likely to use Gratuitous French or Gratuitous English when quoting something or other. In fairness, it usually wasn't terribly gratuitous; he probably had some philosophical purpose in every instance. Indeed, his purpose could, at times, be downright practical: his use of the French word ressentiment (resentment) in On the Genealogy of Morality and afterward was basically because German doesn't have a word that could really translate to "resentment."
Hedonism Tropes: Subverted. He starts his career in philosophy with the description of the Apollonian (cerebral, classicist, logical, restrained) and Dionysian (wild, visceral, hammy, hotblooded, hedonistic) archetypes in the Birth of Tragedy (and recommending a Dionysian lifestyle). In the end, he denounced hedonism viciously ("why go back to the beasts instead of overcoming man"), mocked the English for their utilitarianism, and philosophized that scientific materialism and modern nihilistic culture is encouraging stupid hedonistic Bread and Circuses which will result in an dystopian idiocracy.
Man does not strive for pleasure; only the Englishman does.
Insistent Terminology: Sort of. As he gradually grew disillusioned of German culture, he started emphasizing his descent from Polish nobility; by the end of his (sane) life, he insisted that he was entirely Polish.
Jerkass Gods: Nietzsche thought they were more natural and realistic, hence a part of his appreciation of Ancient Greek culture who, as part of amor fati virtue, lived through the Cosmic Horror Story of living under them while still retaining their creativity. This is also the reason why he respected the Jewish Jehovah (yes, contrary to other people's beliefs, you don't insult the Jews around Nietzsche), while at the same time denouncing the Christian otherworldly omnibenevolent God proposed by St. Paul as unrealistic.
Koan: One of the great Western practitioners of the art.
Not So Different: His view on religion and science, at least insofar as they both attempt to calculate a metaphysical framework to explain how and why the world functions; the latter is simply secular. See also the part on Science Is Bad below.
One of Us: Quite literally. "Tropes are not something that can be added or abstracted from language at will—-they are its truest nature. There is no real knowing apart from metaphor, and the drive toward the formation of such is the fundamental human drive."
Outgrown Such Silly Superstitions: Or rather, we need to. One of the main themes of his work was that conventional morality is no longer relevant, and the only reason we still have it is because we're afraid to let go of it. But once we do let go of it, we'll be free to create a new morality that works better.
Rated M for Manly: His ideal character, and philosophy emphasized personal strength, self-reliance, Determinator tendencies, Magnificent Bastardry, and generally being the pinnacle of physical and mental fortitude.
Real Men Eat Meat: He very clearly believed that vegetarianism was bad for the human spirit (which of course did not just include men, but his philosophy definitely emphasized manliness); he specifically calls vegetarianism a cause of "physiological inhibition" in On the Genealogy of Morality.
Shrug of God: Many of works make it clear that the reader is urged to make up their own mind on certain things, most obviously when there are self-contradictory statements. Too bad they didn't have potholes back then.
Social Darwinist/Might Makes Right: Whenever the terms "Übermensch," "Will-To-Power," "Master-slave morality," Nietzsche's rejection of egalitarianism/democracy and such comes up, distinctions between Nietzsche and Social Darwinism are severely blurred, hence Nietzsche's frequent misassociation with notable Social Darwinists like Those Wacky Nazis and radical transhumanists. Note that Nietzsche wasn't really that much of a social Darwinist; his philosophy is rather different.
While he can be excused as going insane, he almost went overboard and took a stance to Kill the Poor when he wrote The Antichrist. The weak and the botched shall perish: first principle of our charity. And one should help them to it.
He did try to criticize (evolutionary) Darwinism, although what he criticized was actually The Theme Park Version rather than Darwin's actual theory.
Believing that it would favor the lowest but most fertile elements of humanity (e.g. retards and rapists) because of the lower fertility rates of intellectuals. Hence why Democracy Is Bad. Nietzsche's will-to-power system is more comparable to Lamarckian evolution which makes personal learned ability and skills, rather than sheer quantity of genes and explosive breeding as with Darwin, the centre of evolutionary progress.
The Sociopath: Not himself, of course, but he predicted some of the Sociopath's personality traits, like Lack of Empathy, incapability to feel remorse/guilt, unfettered behaviour, and occasional inhuman charisma. Also, if understood badly, Nietzsche's philosophy can look like it was praising a self-centered version of Moral Sociopathy. Especially The Anti-Christ.
Straw Nihilist: The most common Theme Park Version of his philosophy, to the point where the trope was originally named "Nietzsche Wannabe". Nothing could be farthest from the truth. In fact, Nietzsche hated it.
He does talk about similar characters, and calls them Last Men. People afraid to make changes and choose their own meaning of life. He is [[Understatement not kind]] with Straw Nihilists.
The Übermensch: While this character was originally his idea (and it's actually even more complex than what could be described in that trope page), it's subverted because Nietzsche never considered himself as this, even considering himself to be more of the Last Man, because in his original works the Ubermensch is supposed to be "healthy" and his sickliness rendered him incapable of doing anything truly Ubermensch-related. He did not even bother defining this character archetype well, thus the flame wars here on the internet and in the academic world.
He did, however, point out a few historical figures who were either Ubermenschen or very close; for the most part, in contrast to the popular misconception of Nietzsche advocating transhumanism (a literal take on "übermensch") or complete sociopathy (as with Those Wacky Nazis), the proto-übermenschen tend to be instead relatively benign prophet-lawgivers and the founders of influential schools of thought.
Chief among them were Socrates and Jesus. He regarded them both as something of a mixed bag: the former started a trend in Western culture that Nietzsche did not like but on the other hand did have some good ideas; he regarded what he considered to be the original teaching of Christianity (which he understood to be rather like Buddhism) to be excellent to apply for the poor, sheepish masses in a healthy society, but also considered Jesus an "idiot" (by which he meant "Cloud Cuckoolander" and Wide-Eyed Idealist), and didn't like that Jesus' teaching was so easily twisted by the Apostle Paul and the Catholic Church (which he detested).
He also seemed to regard both Gautama Buddha and Muhammad as Ubermenschen or near-Ubermenschen. He liked what he saw in Buddhism (having studied it fairly extensively), but has little to say about Islam (although what he does have to say is quite complimentary), as it seems he hadn't really gotten around to a detailed treatment of the subject.
War Is Glorious: Inverted, subverted, deconstructed, played straight, zigzagged and played with relentlessly. As mentioned above he is critical of war in one sense, and especially for how it was used and abused by the state for petty reasons, but he regards conflict (in a general sense) as the great mover of history and ideas, and the fount of creativity. He also saw war as a way that a broken society might find renewed purpose, though he notes that a healthy society has no need for war. He admires numerous men who were soldiers and conquerors like Julius Caesar, Cesare Borgia, Napoleon Bonaparte and Alexander the Great, and frequently invoked war imagery in his writings especially when he was attacking someone (ie. more often than not). He is strongly opposed to pacifism and after forming The Übermensch he changed his mind about war, praising it. In his insane period he declared that Germany would fall shortly due to its war-making; he was dead on right. In other words- inconclusive.
The new opening of Suzumiya Haruhi contains the phrase "Gott ist tot." You may now take this in whichever way you want.
Some people have pointed out that Haruhi going to all the clubs and then leaving when they're empty of what she wants happens to be almost exactly what The Madman does in Nietzsche's The Gay Science, which is where "Gott ist tot" comes from.
Arai Chie's name is a direct Nietzsche reference...for some reason.
It's possible that it was suppose to foreshadow her personality (you can just feel faint traces of it, sort of) but the author never got around to it being a gag series and all.
Nietzschean philosophy is flirted with all throughout Watchmen, but it's especially evident in the Rorschach-centric chapter, which is titled "The Abyss Gazes Also" and ends with the rest of the quote.
Moore used the concept of the real 'superman' on one of his most famous (and darkest) works, his reintepretation of Miracleman. At the end of the first chapter, on issue one, a chilling page which shows us a close up of Miracleman's face and eye, quotes "Behold... I teach you the superman! He is this lightning! He is this madness!".
Garth Ennis' Preacher has a lot of Nietzschean influenced ideas sprinkled around in it. This becomes most obvious at the end of the series, when the God Is Death philosophy is taken literally.
Jerry Siegel and Joe Shuster named Their character Superman after the Nietzschean term coined in Thus Spoke Zarathustra.
This is toyed with in All-Star Superman, where Superman creates a miniature universe in his Fortress of Solitude, which is implied to be OUR universe. Throughout the chapter where this happens, various historical events are shown to transpire on the Earth of the miniature universe. Among them are Nietzsche coming up with the concept of the übermench and the publication of the first Superman comic.
In The Day After Tomorrow by Roland Emmerich, the people who were trapped in the New York Central Library start burning books in the fire pit (as New York is experiencing in an ice storm). Not long after an argument breaks loose whether to burn Nietzsche's collected works (who was, as one person argues, a chauvinist and an Incestier). They soon decide to burn the tax payers' rights registry instead.
In The Dark Knight, Joker uses the variation of "That which does not kill me can only make me stronger", by replacing "stronger" with "stranger", although the quote probably wasn't an intentional reference.
"That which does not kill you, makes you stronger" was also quoted at the beginning of the Conan the Barbarian.
Wanda: But you think you're an intellectual, don't you, ape?
Otto: Apes don't read philosophy.
Wanda: Yes they do, Otto. They just don't understand it.
Although Nietzsche himself wasn't a nihilist, that philosophy has been associated with him. The scene in The Big Lebowski where Walter misconstrues German nihilists as Nazis probably alludes to Nietzsche's undeserved reputation in that area.
He doesn't misconstrue them as Nazis at all. He confuses them for Nazis because they are German and says that they can take them because they have done it before. When the Dude corrects him and clarifies that they are nihilists, explaining that means they don't believe in anything, he has an Oh Crap moment and realizes this could make them ''worse' than Nazis, because at least Nazism was an ethos. Of course, once they found out these nihilists had not actually kidnapped, harmed or killed anyone, and were basically a bunch of StrawNihilists of the Harmless Villain variety, he loses his respect for them.
In the Live Action Adaptation of Death Note Light Yagami reads Beyond Good and Evil in German.
If you know what to look for, you can sometimes spot alterations of the book titles in Perry Rhodan novels. There's no philosophical and/or thematic connection but apparently, at least one author is a Nietzsche fan.
Reversed by the works of Fyodor Dostoevsky: Nietzsche was a huge Dostoevsky fan (although they couldn't be more different on their views on Christianity), reading Dostoevsky's novels as soon as they came out in French or German (Nietzsche didn't speak Russian). The influence of Dostoevsky's ideas shows up in Nietzsche's work. To give you an idea how similarly they analyzed the problem of nihilism, Dostoevsky's Raskolnikov is remarkably like (though not identical to) the Nietzschean Übermensch...but Nietzsche hadn't read Crime and Punishment when he wrote Thus Spoke Zarathustra, and Crime and Punishment predates Zarathustra by fifteen years.
Of course, one need only to reach the end of the works to realize that the two then came to very different conclusions. A little wild to think about.
Francis is a fan of Nietzsche in Felidae and Felidae on the Road.
This is discussed, in that the main representation of this group who laments that the Nietzscheans have fallen way short of the values they're supposed to uphold, being little more than arrogant space thugs instead of cultured Warrior Poets.
There is a quote at the beginning and the ending of every Criminal Minds episode. At least six of the quotes have been from Friedrich Nietzsche. The "He Who Fights Monsters" quote was used in the first episode and the one hundredth episode and is a central theme throughout the whole show. It was also referenced in the season four finale:
Hotch: (final voiceover) ...And what about my team? How many more times will they be able to look into the abyss? How many more times before they won’t ever recover the pieces of themselves that this job takes?...
The song What Doesn't Kill You(Stronger) by Kelly Clarkson, who ironically, is very Christian, with a tattoo of a cross on her wrist.
Xenosaga just runneth over with Nietzsche symbolism. Not to mention every game in the series is named after one of his books (except Der Wille zur Macht - The Will to Power - which, as mentioned above, is a collection of unpublished scribblings from his notebooks).
Lucas Kane in Fahrenheit is especially fond of Thus Spoke Zarathustra, a copy of which he keeps near his bed.
In The Nameless Mod, an insane AI running the player through an obstacle course (sounds familiar) refers to one room as "The Nietzsche Room" because "it makes you realize" that there is "no god". If the correct alliance and reasons choices are given, Kashue will use He Who Fights Monsters in the final level.
Kreia from Knights of the Old Republic 2 provides us with a Cliff Notes version of some part of Nietzsche's philosophy every time she opens her mouth. Just replace 'God' with 'The Force' and 'Jedi/Sith' with 'priest', and Kreia basically becomes an Übermensch, or (even more likely) she fills the role of Nietzsche trying to mold the main character into one.
Far Cry 2 Big Bad The Jackal quotes from Beyond Good and Evil quite a bit in the game, from the first time you meet him and through his audio diaries.
Persona 3 seems to ape quite a bit from Thus Spake Zarathustra' (particularly the idea of the Protagonist becoming a proper Ubermensch, unafraid to face death, and someone worthy of being an actual Messiah to humanity).
Persona 4 more or less cribs On Truth And Lies In A Nonmoral Sense wholesale; the entire concept of a "fog of pride and thinking you know something" is lifted from the book, and the game hammers home the idea that you must look beyond yourself to understand the objective nature of things (going so far as to attempt to trick you with several fake ending sequences, the second of which will actively attempt to dissuade you from the true ending to the game.) Nearly all of the playable characters also are forced to face down the fact that they've been lying to themselves about certain aspects of their psyches.
Sid Meier's Alpha Centauri makes several references to Nietzsche, the most obvious of which are the technologies "Homo Superior" (which is essentially Latin for Übermensch) and "The Will to Power" (which is straight from Nietzsche). The blurbs read out upon acquiring these technologies are both from the prologue to Thus Spoke Zarathustra. The bit of Encyclopedia Exposita attached to them indicates that they involve creating and using Cyborgs who are both perfectly human and perfectly machine (and thus capable, potentially, of being actual Ubermenschen), and "The Will to Power" enables the Thought Control social choice.