Mikayo Sakuma

<p lang="tr">This paper explores the geopolitical imaginaries in Herman Melville’s Moby-Dick; or, The Whale (1851) and in the Japanese science fiction animation titled Hakugei: Legend of the Moby Dick (1997-1999) by the Japanese animation artist Osamu Dezaki. Although it is an adaptation of Moby-Dick, the setting of Hakugei has been creatively changed from the sea to space. In the mid-nineteenth century, when Melville chose the sea as the setting of his quest novel, the sea was inextricably intertwined with the nineteenth-century myth of U.S. expansionism. Melville presents a double vision of imaginary islands in the South Sea and the actual geopolitical relationships between existing transatlantic countries. Yet in the second half of the twentieth century, especially in the wake of Transpacific tensions, the sea as a place of quest among Japanese writers could not be delineated in the same kind of prefigurative language used by Melville, such as by drawing on symbolism. Instead, the animation reflects a Cold War psychology that was prevalent among Japanese after the defeat of World War II. As this paper suggests, Hakugei displays both fear and hope for the geopolitical transformation of the Pacific Rim countries and their future safety by choosing outer space as a site for the fable. It is in this way that the Japanese animator Dezaki draws on Melville’s Moby-Dick as a source text by engaging geopolitics, anti-war psychology, and uneasiness toward expansionism. Melville’s pacifism can be argued for as major transcultural influence, at the very least, driving Hakugei’s anime characterization. In fact, going beyond drawing on certain characters, including Ahab, Dezaki retains Melville’s anxiety over the proximity of creation and destruction in yet another era of increasing concern for world peace.</p>