The highly anticipated anime "Jaadugar: A Witch in Mongolia" officially premiered on July 4, 2026. Based on the popular historical manga by Tomato Soup, the series features a powerhouse creative team: Abel Gongora as Director, Naoko Yamada as Executive Director, and Kenichi Yoshida handling character designs and chief animation direction.
Set against the backdrop of the rising Mongol Empire, the story follows the life of a young girl caught in the swirling currents of history. But how did the production team approach the daunting task of depicting such complex history and culture?
We sat down with Director Abel Gongora to discuss his career journey, his priorities for this adaptation, and the core themes of "Revenge" and "Freedom" embodied by the protagonist, Sitara. From location scouting in Mongolia to a relentless pursuit of "authenticity," this is the story behind the creation of this historical epic.
"I never dreamed of becoming an anime director in Japan"
──To start off, could you tell us a bit about your career and how you first began working with Science SARU?
Abel: I studied fine arts back in my home country, Spain, specializing in animation. After that, I worked in Ireland for a year before joining a studio in France called Ankama. When Ankama decided to open a studio in Japan, I made the move to Tokyo. That’s where I met Director Masaaki Yuasa and Eunyoung Choi.
──The two founders of Science SARU.
Abel: Exactly. When they were getting ready to establish the studio, I believe I was one of the first people they reached out to, along with another Spanish animator. I joined as one of the very first employees of Science SARU. Since then, I’ve watched the company grow, the team expand, and it eventually became the Science SARU we know today.
──You’ve been there since the very beginning. Back when you were in Spain or France, did you ever imagine you’d be directing anime in Japan?
Abel: I never dreamed of it. In fact, back when I was a student, I told myself I didn't want to be an animator in Japan. I knew exactly how hard the work would be! (laughs)
But somehow, I ended up working as an animator here, and now I’ve even been given the opportunity to direct.
Tezuka-esque Visuals Meets Deep Cultural Exploration
──After directing "Scott Pilgrim Takes Off" and working on "Dandadan" Season 2, you’ve taken the helm for this project. How did you get involved with this specific title?
Abel: It started when a producer approached me. I think the suggestion was that based on the content of the manga, "Abel might be a good fit."
As soon as I received the offer, I said, "I definitely want to do this." The original manga is just so unique and fascinating.
──What specifically drew you to "Jaadugar: A Witch in Mongolia" when you first read it?
Abel: The art style struck me immediately. It felt like it shared DNA with classic manga and anime, something reminiscent of Osamu Tezuka’s work. Of course, the story is compelling too.
I’ve also had an interest in Mongolia even before reading the manga, and this project gave me a chance to really dive into Mongolian life and culture. As I kept reading, I also became deeply interested in Persia. The history is gripping, and the culture is just beautiful.
──We saw on social media that you went on a location scouting trip to Mongolia. What was it like to actually stand on the land where the story takes place?
Abel: While researching for the production, I looked into the culture, climate, and landscapes, but many people there still maintain traditional lifestyles—living as nomads, staying in gers (traditional felt tents).
Actually going there allowed me to experience the smells and tastes you can't get from a book. You don't truly realize how vast the steppe is until you’re standing in the middle of it. One of our guides also played the Morin Khuur (the horsehead fiddle) for us, which was incredible. The most vital part, though, was staying overnight in a ger. Experiencing that firsthand made it much easier to imagine the daily lives and struggles of the characters. We also visited museums and took countless reference photos to deepen our understanding of the culture.
Creating Something Truly "Authentic"
──The series has a visual style that looks Tezuka-esque, yet it also depicts history and culture with meticulous detail. What did you prioritize when translating this into animation?
Abel: My biggest concern was how to portray the two distinct cultures of Persia and Mongolia. These are real cultures with deep histories that continue to this day, so we had to treat them with immense respect. I wanted to keep the foundations as realistic as possible. Of course, we make some creative adjustments to make the story easier to follow, but I didn't want to change things arbitrarily. That was a rule—a policy, really—from the very start.
──That same sentiment is very clear in the original manga as well.
Abel: I’m sure Tomato Soup-sensei feels the same way. More than anything, I felt we needed an attitude of respect and reverence for the history and culture of those regions.
──It’s about respecting the culture and finding a balance that avoids making it fall into orientalism.
Abel: Exactly. It needs to be authentic without being excessive. We’ve been very particular about the depiction of Persia and its music. Our composer, Koshiro Hino, understood this perfectly and collaborated with people who have actual roots in Iran.
The entire staff shared this drive for "authenticity." Instead of just making music that "sounds" vaguely Middle Eastern, we decided to use real Persian instruments and work with people who understand the heritage. Because of that, I think we’ve created something truly special.
On the other hand, there are many things about 13th-century Mongolia that aren't recorded in the historical record. In those cases, we looked at modern Mongolian expressions and descriptions for inspiration and tried to reconstruct them in our own way.
I can’t claim that every single detail is "perfectly historically accurate," but if viewers who share those roots look at it and feel that it's "realistic," I’ll be happier than anything.
Working with Kenichi Yoshida and Naoko Yamada
──I’d like to ask about the character designs. What direction did you take when adapting the manga’s art for animation? Personally, I felt the anime versions looked a bit more mature.
Abel: Finding the right balance was quite a challenge. In that regard, I think Kenichi Yoshida’s designs are brilliant.
For example, he designs characters with a clear understanding of how they would look when they turn around in a 3D space. He considers the volume and three-dimensionality of the characters, so the final designs are incredibly polished.
Regarding the "mature" look, the character proportions are slightly taller. Most animators find taller proportions easier to draw—it’s what they’re used to.
I thought that by adjusting the designs to lean slightly toward the skills and experience of the animators, we could make the production smoother. Yoshida-san did a fantastic job with that. I specifically wanted to keep the "large hands and feet" that characterize the characters in this work, as well as the distinctive nose shapes.
──That’s true. Even in the animation, Sitara and the others have those large hands. It feels like a very effective motif for people who live off the land.
Abel: Precisely. Yoshida-san’s designs kept those traits while finding a perfect balance. We managed to preserve the charm of the original art while making it animation-friendly. He’s also masterful at creating subtle emotional expressions and giving the entire cast a sense of visual unity.
──Could you also tell us about working with Naoko Yamada, who serves as the Executive Director?
Abel: Yamada-san was involved in the project from a very early stage. She contributed immensely, particularly regarding the script and story.
Her strength lies in her ability to depict a character’s personality and inner world. She would adjust the story structure as needed—deciding where to linger on a scene and where to keep things brief—to ensure the character's emotions reached the audience directly.
──Did you work side-by-side throughout the process?
Abel: In the early stages, yes. We talked a lot about the basic look and direction of the film. We even exchanged opinions on the voice casting, which is a bit outside her usual specialty. Once production moved into full gear and the actual drawing started, she gave me a lot of freedom to handle the day-to-day directing.
Sitara’s "Revenge" and "Freedom"
──The protagonist, Sitara, survives by learning and acquiring knowledge. There’s a strong sense of intellectual growth as a theme. How do you personally view the themes or message of this work?
Abel: Since the manga isn't finished yet, I can't say for sure where it will go, and it’s hard to definitively state the "theme" until we see the whole picture. However, I do think Sitara’s "Revenge" makes quite the central pillar. That’s what makes her such an interesting character. She’s the protagonist, but she isn't just a "pure, good girl." She has a very dark side to her. And honestly, that’s why I like her.
In terms of a theme we want to convey through the anime, I’d point to "Freedom." For example, we added a specific scene to the beginning of the first episode that ties into this concept of liberty. It became a vital scene for establishing the characters' situation and the setting of the world. I hope the audience can feel those themes while they enjoy the journey.
[Interview by Taira]
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
