Azikazin Magic World’s “Shining Portal” Making Part. 2

「Shining Portal」 Azikazin Magic World (2026)

Welcome back for the second installment — Azikazin Magic World‘s on-location Editorial Team and VISLA editor Tontojang. For those just joining us, here’s a quick recap: this is a deep dive into the making of “Shining Portal,” the game-nimation music video from Azikazin Magic World’s full-length album [Memory Overdrive], released in late January, which has been drawing widespread attention. If you have the time, we highly recommend checking out “Azikazin Magic World’s ‘Shining Portal’ Making Part. 1” first.

Part 2’s first guest — heading to Park Jihyeon’s studio!

Editorial Team

At this point, let’s once again meet the staff members who came together for the production of the “Shining Portal” music video, one by one.

Park Jihyeon: Illustrator based in Korea. Participated in “Shining Portal” as art developer.

Editorial Team

We understand that illustrator Park Jihyeon has built a connection with Azikazin Magic World through multiple collaborations, including work with member Kiho and with Silica Gel. But how did you come to know director Jeong Hara?

Park Jihyeon

It was 2021, and I was at a point where I wanted to shake off the fatigue and restlessness that had built up from working on my graduation project, and find a collaborator for something new. What came to mind was a study project where I’d pick texts from books I loved and turn them into animation. So I posted on Instagram looking for someone to join me — and the first person to reach out was Hara. We’d actually been following each other’s work on social media for a few years before we connected, quietly cheering each other on from afar, so I remember being genuinely overjoyed when she got in touch.

After that, we kept a study going for about two years — meeting once a week to share our work, exchange feedback, and cheer each other on — and naturally grew closer. Up through this year, I think there have been around four or five projects where we’ve helped each other out, including the Azikazin work.

Editorial Team

We heard that you worked on the art development for props and backgrounds appearing in the work alongside Director Jeong Hara. One of those is the Trash Mountain backdrop, which carries important meaning in the piece. Could you briefly tell us about the process of creating that artwork?

Park Jihyeon

Trash Mountain was the key backdrop for the highlight battle scene, which is a pivotal moment in the work. Given its importance, Director Hara would provide a rough layout and a preliminary color scheme, and then I would develop the color and background details further from there — that was how we collaborated on it.

An in-progress concept image. The battle sequence between Automedon and Overdrive Form Jujubee

The battle sequence between Automedon and Overdrive Form Jujubee

Park Jihyeon

Using that main scene as a base, I was also able to develop concept art for the other cuts within the same sequence. Since it was the scene where the most pivotal event of the work takes place, I put particular thought into finding a color palette that could convey both the gravity of the battle and a sense of longing at the same time.

Editorial Team

We’ve heard from Kiho that you’re someone who puts an extraordinary amount of care into every single illustration. That’s surely why Director Jeong Hara invited you to take on the role of art developer. With that in mind — of all the artwork appearing in “Shining Portal,” which piece do you feel you put the most thought and effort into?

Park Jihyeon

Within the art development process, my main work was the color script — a preliminary coloring draft that brings together key images with established layouts to convey the overall sense of time and emotion throughout the piece.

A selection from the completed color script

Park Jihyeon

If I were to pick one scene from the whole, I’d say Automedon’s entrance. It’s the moment where things shift sharply from the bright, everyday life of the TraKids children in the first half to a scene of crisis — so I thought a lot about how to choose colors that could convey a sense of urgency and longing simultaneously, without working against the flow of time. I remember finding it hard to get the feel right all the way through to the finishing stage, and going back and forth with Hara, trying out several different versions.

Next, heading to Song Minjeong’s studio!

Editorial Team

Now let’s talk with another staff member who came together for the production of the “Shining Portal” music video.

Song Minjeong: Animation compositor based in Korea. Participated in “Shining Portal” as 2D compositor.

Editorial Team

Nice to meet you, compositor Song Minjeong. Could you briefly explain how you came to be involved in “Shining Portal,” and what part you took on in the music video?

Song Minjeong

Director Hara and I were classmates in university, and when I joined the same company as her in ’25, our paths crossed again — which led to my involvement in this “Shining Portal” project. I participated as the 2D animation compositor for “Shining Portal.”

Editorial Team

The role of “compositor” feels somewhat unfamiliar compared to roles like “director,” “animator,” or “illustrator.” Could you explain your role in “Shining Portal” in an accessible way?

Song Minjeong

It’s a position that typically only has about two people in domestic animation studios, so it makes sense that it might not be familiar. A 2D animation compositor is the person responsible for gathering the work created by team members and handling the photography and compositing. The core of the job is seamlessly combining backgrounds with the animation drawings (animated sources), while also adjusting character tones to match the directorial intent — the location, weather, mood of each scene — and adding effects to make the image feel richer. I also add elements that give the feel of footage shot on a real camera: things like depth of field, lens flare, chromatic aberration, and handheld camera movement.

And unlike live-action VFX compositing, 2D animation compositing works with 2D image sources, so creating a sense of dimensionality in each element is especially important. Since it’s also the final-touch stage of the pipeline, while it might not always be busy day-to-day, as deadlines approach depending on the project’s progress, it turns into a short, intense burst of fiery workload.

Editorial Team

Having heard your explanation of the compositor’s role, it really feels like the compositor’s skill can make or break the overall quality and finish of an animation. With that in mind — was there a particular scene in this music video that was especially tricky to finish?

Song Minjeong

The cuts featuring digital screens tended to require the most work. When digital screen effects or glitch effects were involved, it was particularly tricky to composite them in a way that felt natural and integrated, rather than like they were floating separately. The third cut, which was the first one I worked on, also took a long time — since the first cut sets the overall benchmark, I found myself overthinking what kind of look to go for. The battle scene with Jujubee was also a labor-intensive cut: being the highlight battle sequence, there were many elements to handle — attack effects, explosion effects, and so on — and carefully working out the light and shadow changes from large light sources was another area I paid close attention to.

And now, our final party member — heading to Lee Yejin’s place!

Editorial Team

Now let’s talk with another staff member who came together for the production of the “Shining Portal” music video.

Lee Yejin: Animator based in Korea. Participated in “Shining Portal” as FX animator.

Editorial Team

Nice to meet you, animator Lee Yejin. Could you briefly explain how you came to be involved in “Shining Portal,” and what part you took on in the music video?

Lee Yejin

Director Hara and I met at work, and one day she showed me a project she was working on. That was when I first saw the Azikazin team’s work and the “Shining Portal” video board together — and the moment I saw it, I immediately had the feeling that “this is going to be a hit.” The project itself looked so cool that I thought it would be fun just to be part of it, so I said yes right away. The part I was assigned was the highlight battle scene between Automedon and Jujubee, and I handled the character and FX animation.

Editorial Team

In the credits, your role is listed as FX animator. What exactly does FX animation mean in the context of “Shining Portal”?

Lee Yejin

It was work focused on the visual effects appearing in the battle scenes — designing and animating elements like attack effects, wind, and energy flows.

Editorial Team

The battle scene between Seiren: Automedon and Memory Overdrive-form Jujubee, as well as the shot of Kkamajaya watching over them — the sheer dynamism was breathtaking. It’s a brief scene, but the impact was immense. Could you tell us about any thoughts you put into preparing for that fleeting moment?

Lee Yejin

In that scene, the two characters exchange attacks that build up to an explosion, and I thought it would be great if you could feel a difference between the two — even within the same “explosion.” So I tried to give each of them a distinct impression through things like the timing of the explosion, the colors, and the texture of the smoke. It was a short scene, but it was one I had a lot of fun making.

Phew, the final stop at last. Off we go, as always!

Editorial Team

And now, let’s talk with Azikazin members Song Kiho and Lee Sungmoon, who were also part of the team behind the “Shining Portal” music video.

Azikazin Magic World: Handled the 3D scenes and game scenes.

Editorial Team

Finally, we’d like to put some questions to the Azikazin team, who handled the 3D scenes and game scenes in “Shining Portal.” The 3D scenes in particular are quite substantial — comparable in weight to the 2D portions. Was it all handled by Sungmoon, Azikazin’s 3DCG specialist?

Lee Sungmoon

The rough storyboard was so well done that it felt like all I had to do was dress it up properly and it was ready. It was like breathing life into something.

Works by Azikazin Magic World’s 3D artist Lee Sungmoon.

Editorial Team

Director Jeong Hara planned out the overall 3D scene direction alongside the 2D direction. But in order to actually realize the rough storyboard’s 3D scenes, a great deal of work must have been required — backgrounds, character modeling, character animation, FX, and more.

Lee Sungmoon

Having more references is always a big help when it comes to detailed production. Because so many ideas had accumulated through multiple rounds of meetings, questions about the background production or character look were resolved relatively easily.

Editorial Team

Azikazin Magic World has been continuously creating game-nimations inspired by gaming culture — works like “Keeper’s Wish” and “Hotel Room” — under that name. “Shining Portal” also feels like a game-nimation, one where raising and battling unfolds through the medium of Jujubee’s “memories.”

Song Kiho

The game depicted in “Shining Portal” is truly heartbreaking. Even just a few cuts of game footage, when you piece them together, it evokes a deep sadness. In the early game scenes, it looks as though Jujubee is spending ordinary days with TraKids, building precious memories together. Then as you move into the game scenes in the latter half, you realize that those very memories Jujubee has built with TraKids are being consumed in order to defeat the Seiren. That contrast was the part that hurt me most. If the game in “Shining Portal” ever becomes a real game with an actual ending someday, I would absolutely want to give it a happy ending.

Team Shining Portal in Azikazin Studio (2025)

Editorial Team

And with that, we’ve had a chance to speak briefly with everyone on the “Shining Portal” production team. For our final question — one for the entire staff: is there a memory from the past year of making this music video together that you’d most like to hold onto?

Jeong Hara

Making this music video reminded me all over again of how joyful it is to create something together with others. As life goes on, the kind of pure energy you bring to your work as a child can start to fade — but what stays with me most is the image of everyone genuinely thinking through a single work, pondering how to make it better, and actively giving feedback. I want to carry the energy and memories I felt during this time with me, and keep creating with that same joy for the rest of my life.

Jung Wonhee

When Hara first asked me to make an animation together, I was genuinely excited in a way I hadn’t felt in a long time.
To put it in slightly geeky terms… it felt like, “the long-stopped hands of my heart’s clock began to tick again.” When I actually started, I found that Hara had already prepared so much in advance that all I could say was “Yes, yes — this is wonderful.” I have so much respect for Director Hara and the team. I think having the chance to keep looking at such talented people’s art and music made the whole thing even more enjoyable. And it was truly an honor to be part of the wonderful vision put together by the Azikazin team. I’m sincerely grateful to everyone I got to work alongside.

Kim Minju

I think it would have to be the memory of working alongside so many other creators. I’ve been steadily doing personal work on my own and have my day job too, but I realized that gathering separately like this to make something together isn’t something that happens very often. Since everyone has their main work and this was done in their spare time, the moments where we were all actually together weren’t many — but the time spent exchanging feedback and browsing each other’s work was really wonderful. A good project leaves good connections behind, and I have a feeling this isn’t the end. Let’s all meet again next time!

Park Jihyeon

I was happy to feel, even briefly, a sense of camaraderie with the other creators — the same feeling I imagine TraKids share. Working together with this kind of upbeat, rallying energy isn’t something that happens often… so I felt that if an opportunity like this came around again, I’d absolutely want to grab it. The finished work is so wonderful that I feel proud to have been even a small part of it. This was the first project where I felt like both a fan and a creator at the same time. I’d love it if we could all come together and make something again. Everyone worked so hard — thank you all!

Lee Yejin

Outside of work, I had never done animation as a team like this before — and it was an experience that let me feel just how wonderful it is to come together with a shared goal of making something good and actually create it. My part was a small number of cuts, but just being alongside everyone and watching it all unfold was something I’m genuinely happy and grateful for — I want to say thank you to the director, the team, and the Azikazin team as well.

Song Minjeong

The care and consideration shown for everyone involved throughout the process is what I think will stay with me as a cherished memory. I dove in on a whim out of curiosity, but the reason I was able to see it through to the end was thanks to that thoughtfulness. The image of Director Hara carefully proposing this project to me, the Azikazin team and the other creators voting with such earnestness on my work drafts, the courtesy and seriousness toward the work that came through in everyone’s feedback — why are people who make great things also just… great themselves? It makes me want to keep working with them for a long, long time.

Azikazin Magic World

On November 2nd, 2025 — in Azikazin’s brand-new studio, freshly moved in — we invited the “Shining Portal” team over and played them [Memory Overdrive] for the very first time. And secretly preparing a birthday cake to surprise the director — those are the memories that stand out most to us! It was so much fun and so full of happiness!!

Azikazin Magic World’s “Shining Portal” Making, The End.

Editor | Jang Jaehyuk
Special Thanks to Azikazin Magic World

* This interview was published through VISLA Magazine in February 2026.
** Special thanks to VISLA Magazine and Editor tontojang for permission to co-publish this interview on the Azikazin Magic World website.
*** Original interview: ‘Azikazin Magic World’s “Shining Portal” Making Part. 2’ https://visla.kr/feature/341677/

March 6, 2026
Azikazin Magic World’s “Shining Portal” Making Part. 2

March 6, 2026
Azikazin Magic World’s “Shining Portal” Making Part. 1

3 comments

도레핀 마을의 메카닉 애호가

수고햇어요

March 8, 2026 at 5:40 pm Reply
도레핀 마을의 사랑스러운 관찰자

우효효

March 20, 2026 at 12:26 pm Reply
도레핀 마을의 수수께끼를 몰고 다니는 관찰자

こうやって私たちの元へ届いたんですね、素敵な作品をありがとうございます！

March 20, 2026 at 12:57 pm Reply