在想像的世界中超越「戰爭」：《機動戰士鋼彈水星的魔女》、《機動戰士鋼彈庫克羅斯・德安之島》與《機動戰士鋼彈閃光的哈薩威》之戰爭觀比較研究

Beyond War in the Imagined World–A Comparative Study of the Concept of War in Mobile Suit Gundam: The Witch from Mercury, Mobile Suit Gundam: Cucuruz Doan's Island, and Mobile Suit Gundam: Hathaway's Flash''

在自1979年誕生以來，《機動戰士鋼彈》系列在日本特殊的戰後環境中，始終無法迴避「如何描寫戰爭」的命題。本文聚焦三部近年鋼彈作品：《庫克羅斯・德安之島》（2022）、《閃光的哈薩威》（2021）、《水星的魔女》（2022-2023），探討其對戰爭描寫與反戰可能性的回應。
《庫克羅斯・德安之島》承襲初代鋼彈傳統，由安彥良和改編舊作，描繪戰爭的愚昧與戰鬥員的不得已，卻仍落入正戰論窠臼。《閃光的哈薩威》改編富野由悠季小說，以現代敘事揭露「正義」戰爭的殘暴本質，然其男性中心視角頗具爭議。《水星的魔女》則以女性主義與反軍事主義為核心，透過對鋼彈的揚棄（Aufheben），徹底否定「作為兵器的鋼彈」，揭穿正戰論背後的殺戮意識形態，進而開啟真正的反戰可能性。

Since the birth of Mobile Suit Gundam in 1979, the series has grappled with the challenge of depicting war in post-war Japan. This paper analyzes three recent works: Mobile Suit Gundam: The Witch from Mercury(2022-2023), Mobile Suit Gundam: Cucuruz Doan's Island(2022), and Mobile Suit Gundam: Hathaway's Flash(2021). It explores whether ''anti-war'' messages are possible in popular culture that depicts war and weaponry. Cucuruz Doan's Island, directed by Yasuhiko Yoshikazu, represents traditional Gundam themes by highlighting the folly of war, while Hathaway's Flash critiques ''just'' wars through a modern lens yet retains male-centric narratives. In contrast, The Witch from Mercury innovates Gundam's legacy by embodying feminist and anti-militarist ideals, ultimately arguing that true anti-war messages emerge from rejecting Gundam as a weapon and exposing just-war theory as a pro-war ideology.