The Philosopher’s Stone – This Time Real or “Macguffin” Again? Anime “Fullmetal Alchemist: Brotherhood” and Political Philosophy

Abstract

The article concerns the universe of “Fullmetal Alchemist” (2001–2010), created by Japanese mangaka Hiromi Arakawa, from the perspective of media theory and philosophical analysis of popular culture. Starting from stunning success of the second anime serial adaptation that got on the screens under the title “Fullmetal Alchemist: Brotherhood” in 2009–2010, the author shows how intrinsic to the narrative philosophical ideas determine the cult status of the anime. Narrative components of Arakawa’s product that could be interpreted from the point of view of political philosophy, had decisive meaning for the consolidation of “author’s work” reputation behind the manga and the anime. A conceptual basis of the narratological research is ‘macguffin’ theory. The article justifies that “philosopher’s stone”, in the world of “Fullmetal Alchemist” often interpreted as a classic macguffin, represents an important and meaningful piece of narrative. The author proposes to interpret existing in the fiction world “philosopher’s stones” as a metaphor of power. Arakawa’s work therefore is an original commentary on power and ethics. Narrative movement and historical visual references, that anime contains in plenty, could be unified under conceptual framework of political philosophy. The manga and the anime project the position of unethical character of power, but in rare cases there are no alternatives to seek it. Thus, the world of “Fullmetal Alchemist” in general represents Kantian categorical imperative: the “materials” (human individuals) to create “philosopher’s stones” never should be treated merely as means, but always as ends.