The anticipated summer anime "Jaadugar: A Witch in Mongolia" is set to begin its streaming on July 4, 2026. Based on the popular manga by Tomatosoup, the project has garnered massive attention for its powerhouse creative team, featuring director Abel Gongora and supervising director Naoko Yamada.
animatetimes sat down with the original author, Tomatosoup, to discuss the unique charm of the animation, her undying fascination with history, and the deeper themes woven into the story. We hope that through "Jaadugar: A Witch in Mongolia," you might find some of your own answers to life's big questions.
Re-imagining the 13th Century through the Lens of Science SARU
──How did you feel when the anime adaptation was first greenlit? "Jaadugar: A Witch in Mongolia" is a work with layers of historical, cultural, and emotional nuance—elements that can be quite difficult to translate to the screen. What were your expectations, and as the original creator, were there any specific points you were curious about?
Tomatosoup: Since I knew Science SARU would be handling the production, I didn't have a single worry. More than anything, I was the one who wanted to see it most! It felt like a dream coming true. I expected that the combination of Naoko Yamada’s delicate, profound worldview and Abel Gongora’s powerful, stylish flair would result in something truly spectacular. My expectations were at 100%.
To be honest, I felt that everything I wanted to express in "Jaadugar: A Witch in Mongolia" was already complete within the manga. Because of that, I viewed the anime as its own separate entity and wanted the team to feel free during production. In the end, the staff showed immense respect for the source material, as well as the actual history and culture. They produced a piece of animation that far exceeded my wildest expectations.
──We heard that the production staff had many questions for you during the process. How involved were you as the original creator? Also, looking back on your interactions with Director Abel Gongora, Supervising Director Naoko Yamada, and the rest of the team, are there any moments that stand out?
Tomatosoup: The staff would periodically put together a list of questions, and I—along with our historical supervisors, Haruna Tanigawa and Tomoko Masuya—would write in our answers. Once the scripts were ready, I’d offer feedback if there was anything that caught my eye before they moved toward the final draft. Since we had a solid supervision system in place, my main role was explaining the concepts—like, "I drew this scene with this specific intention"—or providing sources, like "I referenced this specific section of this book."
Interestingly, through this process, the staff pointed out chronological errors in my own manga or cultural details I hadn't known. I was so mortified that I actually went back and fixed the original manga! So, if you're buying the volumes, please try to get the latest editions (laughs).
Checking the character and art setting materials was also a highlight. In a manga, I often "cheat" with the composition to make things look good on a flat page, but in anime, characters and buildings are shown in 3D from various angles. I felt they were rebuilding everything from scratch with a completely different approach.
The Essence of Sitara and the Impact of Animation
──After seeing the finished footage, were there any specific directorial choices, scenes, or performances from the cast that left a lasting impression? Was there anything that matched exactly what you envisioned while drawing, or perhaps a new charm you only discovered through the anime?
Tomatosoup: From the very beginning of the first episode, when the Adhan (the Islamic call to prayer) starts playing, and young Sitara runs through the orange-hued streets of Tus until the title appears in front of a blue-tiled mosque—in that moment, I knew I loved this show. The colors, the designs, the fluidity of movement, the soundtrack, the direction... it felt like all the best elements of the series were packed into that one sequence. I’ve watched it over and over.
As of this interview, I haven't seen every single episode yet, but from what I have seen, the quality remains incredibly high. I get so sucked in that I forget I’m the one who wrote the story. When I saw the first three episodes at the world premiere, I intended to watch the audience’s reaction, but I ended up staring at the screen, shocked by the events unfolding despite knowing what would happen.
Specifically, the scene where Sitara cries out, "I don't want to go anywhere I don't know anymore," felt so real. She looked like a real child crying; it was heartbreaking. Later in the series, there’s a scene where the adult Sitara lets out a fierce scream. It made me realize that the essence of her character is that, even when trapped in a darkness where she can't see the future despite desperate learning and thinking, she continues to cry out while never stopping that search for knowledge. I believe Akiyora Sekine truly captured that essence of Sitara.
The "Trap" of History and the Weight of Truth
──The series meticulously depicts the history and cultures of the Mongol Empire and Persia. When treating real history and culture as a basis for fiction, what do you prioritize? Also, as you continue your research, what is it about history that keeps you so captivated?
Tomatosoup: I try to research as much as possible, but there are always limits. Lately, I’ve felt strongly that I am not a member of these cultures, faiths, or histories; I am merely an outsider utilizing them for entertainment. I can't even begin to imagine how those who actually belong to these cultures or religions feel about "Jaadugar: A Witch in Mongolia."
As far as I can imagine, if someone becomes interested in the Mongol Empire or the Islamic world because of this series and starts researching it actively until they truly love it, they might eventually come to hate the original manga (I’m speaking strictly of the manga here, as animation has many different layers of evaluation).
At the very least, I want to be a creator who remains honest—someone who admits that this is a fictional work for entertainment and can say "I don't know" when I truly don't know something.
The more you study history, the more uncomfortable the phrase "historical fact" becomes. Sometimes I see articles written about my own background; they aren't "lies," but they aren't the "truth" either. Even if I were to explain myself in detail, it would never perfectly represent the truth from my perspective. I’ve realized that historical narrative is the same way.
If I could time travel and see the actual people of the Mongol Empire, they wouldn't be the people I’ve become obsessed with in my head. I’m not sure I’d even want to see them... or would I? Maybe I’d want to see a different version of them. I’ve been stuck in this empty cycle of hesitation for over ten years. So, I’m a captive to it.
"Learning" as a Tool for Self-Determination
──The protagonist, Sitara, is someone who turns "learning" into a strength to survive. You’ve spoken before about your interest in learning history, but what do you think "learning" and "intellect" mean in today’s society? What do you hope readers and viewers take away from Sitara’s life?
Tomatosoup: Years ago, when I was working as an freelancer, an older colleague told me, "I used to have my own business, but I went back to being a temp. It’s so much easier when other people make the decisions for you." At the time, having little social experience, I couldn't find any words to say in response.
Right now, I believe that the reason we "learn" is so that we can "decide for ourselves."
However in my opinion, having the opportunity to learn is a privilege in itself. Compared to the 13th century where Sitara lived, our world has far more access to knowledge, yet there are still people who cannot get a sufficient education due to circumstances. I never want to write in any way that looks down on the fact. As someone who has benefited from this era of accessible knowledge, I think that would be an undesirable attitude.
That colleague was where they were as a result of their own choices, I suppose. Yet I am still searching for the right way to answer that question—"Isn't it easier to let others decide?"—by borrowing the lives of Sitara and the others.
I hope that by reading "Jaadugar: A Witch in Mongolia," everyone can search for their own answer.
──Finally, do you have a message for the fans looking forward to the streaming and broadcast?
Tomatosoup: I wish for you to allow yourselves to be completely overwhelmed by the "Jaadugar: A Witch in Mongolia" anime.
About The Anime
Synopsis
In the 13th century, a young girl stood in a slave market in Iran.This is the story of a single "witch" who toyed with a vast continent.
Having lost her mother and been torn away from her homeland, Sitara was a child with no means of survival and no hope for the future. However, she was taken in by a family of scholars, where she was granted the gift of "knowledge" during her peaceful days.
During that time, the "Mongol Empire," the strongest force on earth led by Genghis Khan, was repeatedly invading other nations and expanding its power day by day. When that ambition reaches Sitara's city, her daily life comes to an end, and the gears of fate begin to turn.
Cast
Sitara: Akira Sekine
Töregene: Ami Koshimizu
Fatima: Houko Kuwashima
Muhammad: Jun Saito
Ögedei: Hiro Shimono
Tolui: Ryota Suzuki
Shira: Miyu Irino
Chagatai: Daisuke Namikawa
Jochi: Kenji Nojima
Genghis Khan: Tamawashi (Active Sumo Wrestler)
Mongol Soldiers: Tamashoho (Active Sumo Wrestler)
(C)Tomatosoup (Akita Shoten) / Jaadugar: A Witch in Mongolia Production Committee
© Animate Times
*Some parts of this text have been translated using machine translation
