Representations of religion, spirituality and philosophy as international narratives in the manga “Full Metal Alchemist” (Hagane no Renkinjutsushi, 2001-2010)

Japanese Entertainment Industries may be defined by two main features: its transmedia vocation, or its ability to disseminate narratives through several media at once, and its cross-cultural, or heterogeneous representation of different cultural backgrounds. These features are present in all aspects of their industry (production, distribution...) but might be even more relevant in the case of their products. Indeed, in recent years, manga (Japanese comic market) and their television adaptations (anime) have become a primary focus of academic scholarship, because of their peculiar representations of religion and spirituality. Although significant first approaches to the question have already been raised, these seem to be mostly oriented to film production, pointing out their Asian origin and hence, the relevance of Asian religions in their narratives. To add some further discussion to this topic, this paper is intended to discuss the representation of religion on two levels. Firstly, as a manifestation of a new spirituality in Japanese popular culture, a concept defined by others as Shûkyô Asobi (Baraka Thomas, 2007) that also related to fandom cult. Secondly, these representations will be discussed as a feature of cultural hybridisation or internationalisation instead of being reduced to the Asian’s religion background of their narratives. The role of the author across transmedia franchises’ will also be considered: To what extent does the author be considered as an adaptor of cultural elements instead of a proper philosopher? Case study will be the manga and Japanese franchise "Full Metal Alchemist" (Hagane no Renkinjutsushi, 2001-2010). In the original manga its author, Hiromu Arakawa, expressed her particular philosophy, influenced by different aspects of both Western thought and Asian religions