Impressions and Analysis of Episode 1 of the TV Anime 'The Tale of the Outcasts' (Tentmaku no Jadoo-gal) - Culture of the Islamic World and 'Learning to Live'

The anime this season is of a very high level, with many interesting works available. Among them, 'The Tale of the Outcasts' stands out as being a cut above the rest of the new releases. I was paying attention to it even before it aired because it is produced by Science SARU and directed by Naoko Yamada, and I feel it is a great masterpiece that lives up to expectations.

Since four episodes have already aired, many people are talking about the appeal of this work on blogs and YouTube. I am so busy writing my own articles that I haven't been able to read or listen to the analyses and impressions of others. Therefore, there may be some overlap with content that has already been discussed, but I would like to express my impressions from my own perspective as much as possible.

I have so much I want to write that it seems like it will become a long article if I'm not careful. However, since being concise is important for everyone to read, I will try to write it as ingeniously as I can.

Although four episodes have already been broadcast, I think it is easier to write from the first episode along with the story. I would like to talk about the points I focused on for each episode.

In this article, I will use the spelling 'Islam' (Isuramu) instead of 'Islamic' (Isuramu). This is because 'Islam' is closer to the original Arabic pronunciation and is widely used in universities and history textbooks.

Also, regarding 'Fatima', in the first act, it refers to the 'Mistress' who is Sitara's owner.

The historical city of Tus, the setting of the first act

Now, let's start with the first act. The story begins in the Islamic world, in the town of Tus, which was located in the eastern part of present-day Iran. While present-day Tus only has ruins remaining, it was one of the leading cities in this region from ancient times to the Middle Ages. And what changed its history significantly was the Mongol invasion that occurred in 1221.

I have briefly summarized the history of Tus.

The Mongol invasion changed not only the fate of the protagonist Sitara, but also the fate of the town of Tus.

At the beginning, the protagonist Sitara escapes from a slave trader and runs around the town of Tus. In the old towns of cities from the Middle East to North Africa, there are many places where narrow alleys are intertwined like a maze. Also, because of defense and topographical reasons, many towns were built on high ground, and many slopes and stairs can be seen.

The scene where Sitara runs around the town served to introduce the town of Tus while depicting her situation. I think it was a very skillful introduction that conveyed the worldview through images and the movements of the characters, rather than relying on explanatory dialogue.

Slavery in the Medieval Islamic World

Sitara lost her mother and was sold as a slave to her previous owner, but the slave system itself was widely present in the medieval Islamic world. In cities, slaves were by no means rare, and they were involved in a wide range of fields such as housework, military, administration, commerce, and entertainment. As in the work, there were slave markets, and slaves were bought and sold along with various goods.

The main sources of slaves were people captured in wars and tribal conflicts. Those captured included not only combatants but also women and children. Women were engaged in housework, serving, sewing, childcare, entertainment, etc., and in courts and the homes of influential people, they were sometimes made court ladies or concubines. Children, especially girls like Sitara, often seemed to be engaged in domestic labor within homes and courts.

Given this historical background, it can be seen that Sitara's circumstances were by no means special in the society of that time.

Islamic housing and courtyards

Next, the story depicts the mansion of Fatima, who took Sitara in from the slave trader. This mansion well represents the characteristics of traditional housing found in arid regions, including Iran.

There are few windows or decorations facing the street, and the exterior is closed off. On the other hand, inside the mansion, living spaces are arranged to surround a central courtyard. The courtyard is equipped with a pond and plants, creating a space that is surprisingly bright and open, which one would not imagine from the outside.

Closing off from the outside while creating a space inside where the family can spend time in peace. It must have been a structure suitable not only for dealing with heat and dryness but also for protecting the family's privacy.

The place where Sitara and Muhammad met, and the place where Muhammad dropped the metal water bucket, is this courtyard. I also feel there is significance in the fact that important scenes symbolizing the first act are depicted in the courtyard, which is the center of the house.

Women's Clothing and the Custom of Covering Hair

Next, let's think about the customs and costumes of the time. Even in medieval Islamic society, the custom of women covering their hair and bodies when going out existed. However, it seems that the practice seen in modern Iran, where women cover their faces, hair, and skin with a black hijab from head to toe, became common a bit later in history.

As seen in the work, before the Mongol conquest in the 13th century, such a custom did not exist in this region, and it seems it was common to cover from the head to around the shoulders with a scarf or outer garment only when going out or meeting men outside the family.

Such norms for clothing also differed greatly depending on age, status, and occupation. In the work, Sitara said, 'I am still a child,' and it seems that young girls, slave women, and women involved in the performing arts had different clothing norms than adult women of free status.

Therefore, not all women wore scarves or outer garments. In wealthy homes like Fatima's that could afford to hire slaves, the above customs were likely observed.

The costumes themselves also differed greatly depending on status and living environment. Women from relatively wealthy families combined long tunics or outer garments with loose trousers, layering skirt-like garments, sashes, or shawls as needed.

The colors were not just black. It seems that costumes of vivid colors such as red, blue, green, and orange were worn. While the costumes in the work are gorgeous, they are designed to make one feel the life in arid regions and the status differences of the time.

Islamic Culture Conveyed Through Visuals and Dialogue

In the first episode, such Islamic social culture and worldview were introduced not only through explanatory dialogue but also through background art, props, and casual conversations between characters.

The melancholic music used for the soundtrack is thought to be played on the Iranian folk instrument, Setar. The setar is a stringed instrument with a small pear-shaped resonator and a long neck. Although it is similar in name and shape to the Indian sitar, it is a different instrument.

*Correction on August 5th
While researching various things about 'The Tale of the Outcasts', it was discovered that the instrument used in the music played in the first act was not a 'setar' but a 'santur'.

'Santur' is a traditional hammered dulcimer representing Iran. It is played by stretching numerous metal strings over a trapezoidal wooden resonance box and striking the strings with thin wooden mallets. It is characterized by its clear tone and delicate ornamentation, and is used for solos and ensembles in Persian classical music. Its origins are ancient, and it is believed that instruments of the same lineage were transmitted to various places along the Silk Road, developing into the European dulcimer and the Chinese yangqin.

While researching various things for writing this article, Kazuo Takahashi, an international political scientist who is involved in the Islamic supervision of this work, said that the instrument is a 'santur'. Mr. Takahashi highly evaluates the staff at Science SARU who produced this work and the original author, Tomato Soup, and talks about various interesting things. I will post the video, so please take a look.

There was a scene where Fatima goes to a 'hammam' for the first time after her mourning period for her late husband ended.A hammam (bathhouse) is a type of public bathhouse widely seen from the Middle East to East Asia. It is not only a place to cleanse the body, but also a social space where people converse and rest. For women in particular, it serves as a precious space where they can interact with other women outside of the home.

The tool that Muhammad was holding in the courtyard where he met Sitara is an astrolabe. When I think of an astrolabe, I am reminded of 'Chi: On the Movement of the Earth,' but its principles are said to have been established in Greece around the 2nd century BC. Later, from the 8th century onwards, it underwent significant improvement and development in the Islamic world, which inherited Greek astronomy.

Scholars and craftsmen in the Islamic world devised precise scales and interchangeable plates, using the astrolabe not only for astronomical observation but also for measuring time, confirming prayer times, and calculating the direction of Mecca. In Persia, present-day Iran, in particular, the writing of research papers on astrolabes and the production of elaborate metal instruments seem to have flourished.

The first episode begins with the narration, 'I learned the size of the world through geometry.' In the medieval Islamic world, knowledge inherited from Greece, India, and elsewhere was translated and organized, leading to major developments in fields such as mathematics, medicine, astronomy, and philosophy.

In the work, the phrase 'Seeking knowledge is the duty of a Muslim' also appears. The background of the astrolabe's development in the Islamic world likely stems from this spirit of intellectual inquiry, which sought to understand the mechanisms of the world.

'Learning to Survive'

Regarding that learning, there is a famous scene in the first episode where Muhammad explains the importance of education to Sitara. I think Muhammad was considering how to convey the 'meaning of learning' to the young Sitara. His explanation using the sound of a metal water bucket falling was very easy to understand, and by layering it with Sitara's circumstances, it was terrifyingly persuasive.

He did not simply teach her that 'studying is important.' Without knowledge, one cannot even understand what is happening to oneself. Knowing how the world works becomes the power to protect oneself and carve out one's own life. He explained this to Sitara using a familiar example that she could understand.

I believe it was a scene that preached a universal truth that still applies today: 'Education is necessary to survive.' I was deeply moved by Muhammad's words. And the words given at this time become a great foundation for Sitara as she faces her harsh destiny from here on.

Historical supervision by Tomoko Masuya

Starting with the scenes of daily life in Tus, the historical and cultural supervision of Islamic culture in this work was handled by Tomoko Masuya, an Islamic art historian and professor at the Institute for Advanced Studies on Asia at the University of Tokyo.

It is very unfortunate, but Masuya-san passed away due to illness on June 21, 2026, just before the anime began airing.

Masuya-san was a member of the University of Tokyo Manga Club during her student days, and it is said that she was very happy to have been involved in the historical supervision of this work even while she was in the hospital.

The deep understanding of culture and history felt in the details of this work is surely supported by Masuya-san's research and her passion for the project. I pray for her soul from the bottom of my heart.

That concludes my impressions of the first episode. As an introductory episode, the world and culture that serve as the setting for the work were carefully depicted through the visuals. I myself researched various things to write this article, and I learned a lot as everything was new to me.

Of course, you can fully enjoy the story itself without knowing these historical and cultural elements. However, by knowing the history behind it, I think you can more deeply understand the world in which Sitara and the others live, as well as the threat of the approaching Mongol army.

The first episode closed with the Mongol army invading the town of Tus. From the second episode onwards, Sitara's fate will be inevitably tossed about by the Mongol army.

Since it has already been broadcast up to the fourth episode, this post is a bit late, but I plan to write about the second episode next time.

Well then, look forward to the next installment.