Metadata Framework for Manga (2)

 

 

Proc. Int’l Conf. on Dublin Core and Metadata Applications 2009
Metadata Framework for Manga: A Multi-paradigm Metadata
Description Framework for Digital Comics
Ayako Morozumi
University of Tsukuba
moro@
slis.tsukuba.ac.jp
Satomi Nomura
University of Tsukuba
nom@
slis.tsukuba.ac.jp
Mitsuharu Nagamori
University of Tsukuba
nagamori@
slis.tsukuba.ac.jp
Shigeo Sugimoto
University of Tsukuba
sugmoto@
slis.tsukuba.ac.jp

 

 

 

 

Abstract
Manga—a Japanese word meaning comics, cartoons and graphic novels—is very popular in
Japan and has been gaining broader recognition in the world. Digital publishing via the Internet
and mobile phone networks is gaining wider acceptance, which means both providers and readers
of manga need good network-based environments to provide, access and read manga. From this
viewpoint, this paper discusses a metadata framework of manga to find, access, use and reuse
manga in the networked digital environment.

 

>>네트워크화된 디지털 환경에서 망가를 찾고, 접근하고, 사용하고 재사용하는 그런 메타 데이터 프레임워크를 논의

The metadata framework for manga proposed in this paper is defined from three
aspects—bibliographic description, structural description, and intellectual entities contained in
the manga. We use the Functional Requirements for Bibliographic Records (FRBR) and
TV-Anytime as the base schemes for bibliographic description and structural description,
respectively. We examine authority and dictionary description schemes for the third aspect. This
paper integrates these three base schemes as the metadata schema model for manga. The model
proposed in this paper is primarily designed for digital manga because printed manga can be
defined as a subset of digital manga.
Keywords: manga, comic, digital publishing, bibliographic metadata, Functional Requirements
for Bibliographic Records (FRBR), structural metadata, TV-Anytime, multi-paradigm metadata.

 

 

>> 코믹, 카툰, 그래픽 노블, 망가, 만화의 혼용

 

<<아하 왜 망가인가 했더니 연구원들이 일본 사람이야

 

bibliographic

미국·영국 [bìbliəɡrǽfik(əl)] 다른 뜻(1건) 예문보기

서지(학)의, 서적 해제의; 도서 목록의

 

 

 

Advanced digital technologies and the
pervasive information networks have brought a big change to manga not only in the creation and
authoring processes but also in the publishing. Digital authoring and editing tools are commonly
used to create manga, and the commercial publication of online digital manga is growing. 

 

>>디지털 환경의 변화는 인정하지만 여전히 '망가' 개념을 가져감

 

 

Currently, most digital manga that are commercially published in Japan are reproduced from
those already published in a print format. on the other hand, increasingly, manga is born in a
digital format. We can create digital manga in different ways – born digital, turned digital and
their combination. For example, a simple way to create a digital a manga is to digitize a manga
originally published in a print format. In this case, the fundamental difference between the
original and digitized manga is only in their physical media. A technique frequently used to
commercially publish digital manga for mobile phones is to scan print manga into a digital image
and edit the digital image for browsing on the small screens of mobile phones.

 

>>와우 진짜? 본 디지털로서 살펴 볼 거야?!

 

 

Digital manga is different from conventional manga in a print format in various ways, e.g., the
design of pages, the use of visual, sound and motion effects, and the user environments.

 

>>오 재밌네. 디지털 망가는 기존의 출판 형식이었던 전통적인/관습적인 망가와는 다르다

  페이지의 디자인. 비주얼의 사용. 소리, 모션 이펙트, 사용자 환경

 

 Functional requirements for metadata in digital and network-based environments are different
from those for the traditional print-centric environments because we can use sophisticated
functions for searching, accessing and browsing digital manga and also because we need to
combine these functions seamlessly with other functions in users’ reading environments. This

difference implies that we need to design a new metadata model based on the functional
requirements to use digital manga.

 

>>음 근데 메타데이터 측면에서 접근하네...

 

 

In other words, integrating these
metadata schemes into a single framework is to clarify the general architecture of manga. The
integrated metadata framework is useful to realize the sophisticated publishing and reading
environments for manga where digital contents are directly and/or indirectly linked to other
contents to allow users to access resources seamlessly across resource types.

 

 

In the
traditional publishing system, a single manga is published in a few different media. A typical case
is that the manga is first published in a magazine, and then it is re-published as (a part of) a comic
book. It could be reproduced in a digital format. Thus, a single manga work could have a number
of different manifestations, which fits the FRBR model.

 

 

 

With respect to structural description, manga is represented as a series of frames on a page
which is printed on a paper or displayed on a browser. The frames are ordered according to the
story line of the manga following the grammatical rules of manga. This means that a story line is
a logical time line for reading the manga. Because these graphical and story-oriented
characteristics are similar to the characteristics of video programs, we propose to use a video
metadata framework as a structural description framework for manga.

 

시각적이고 스토리-기반적 특성 >> ㅇㅇ

비디오 프로그램과 유사 >> ??

 

 그래서 비디오 메타데이터 프레임워크를 망가에 적용하겠다는 건데...

 

 

 

2. Manga and Its metadata
2.1. Basic Concepts of Manga
(1) Basic Constructs of Manga
Manga is composed of a series of ordered frames on one or more pages. Each frame has a
picture, texts in textboxes, onomatopoeia(의성어) and effect symbols. Ordering of the frames is an
important part of design for manga creators. Figure 1 shows basic constructs of manga.
Onomatopoeia and effect symbols are
used to express motions, sounds,
atmosphere and emotions. Layout of
the frames is an important factor of
their design. Graphic instances and
annotations can be put in the space
between frames or overlaid on more
than one frame, i.e. non frame objects.
In digital manga, one or more
frames can be aligned on a single
display page. Visual and sound effects
can be used in addition to the
conventional graphical constructs, e.g.
motion of a character on a picture and
sound to express an atmosphere. on the other hand, in general, because the size and resolution of
a browser are more restrictive than those of a printed book, display effects such as panning and
zooming are used to overcome the restriction. For example, in the case of manga delivered to
mobile phones, a display page is often composed of a single frame and panning and zooming are
frequently used. As well, page flipping software is sometimes used for page-oriented, book-like
browsing of digital manga.

 

 

(3) Comparing Digital and Print Manga
As mentioned previously, manga is basically a story expressed as a series of pictures with
words and symbols drawn in a frame. Manga is published in a magazine, in a monograph 단일 주제에 관해 보통 단행본 형태로 쓴) 논문  comic
book, and/or in a digital form. Manga creators can freely design the size, shape and layout of the
frames as long as they satisfy the conditions for production and publication.
Digital manga and print manga are significantly different in their physical features—use of
sounds and motions, e.g. zooming and panning in a page and/or a frame, motions in a picture. A
very simple way to create a digital manga is to scan in a print manga page-by-page and organize
the scanned pages as a virtually bundled instance.

 

>>얘는 스캔 만화도 디지털 망가라고 하고 있음

In this case, there is no difference in the

presentation structure between the original and digital copies of the manga. Thus, the structural
difference between digital and print manga is not always obvious.

 

>>그렇지!!

 

‘Page’ is an important construct not only in print manga but also digital manga. In print manga,
a ‘page’, which is a very basic unit to design and draw a manga, is an area of a fixed size. In
digital manga, a page would not be such an explicit entity as in print manga but is an essential
unit to control display of the picture frame(s) because it determines a graphic unit in which one or
more frames are located. Thus, we can describe the presentation structures of digital and print
manga on the same generalized structure model shown in Figure 2 even if their look-and-feel is
significantly different.

 

 

(4) Entities of and in Manga
For metadata schema design, it is essential to identify entities that are subject of a metadata
description. Figure 2 shows the general manga structures and their components. As a single
manga is often published in more than one medium, we can say that a Work of manga has one or
more ｅxpressions and Manifestations using terms of FRBR.
Attributes (instances) such as creators, scenario writers, publishers, magazines, and leading
characters are key information in a finding aid of manga. Genres of manga and leading characters
are also crucial but there are no well-established vocabularies어휘? for the genres. From the viewpoint
of semantic interoperability1. 정보 처리 상호 운용(의 가능성) 2. 동맹국의 시설·서비스 상호 이용 of metadata, these instances should be uniquely identifiable and a
description should be associated with each instance.

 

 

In
the digital environment, users expect to be able to discover manga in various granularities알갱이가 든; 알갱이 모양의; (느낌이) 오돌토돌한 –
ranging from a series of comic books with a single title to a particular episode or a scene in a
story.

 

 

We discuss these requirements in the three aspects—Bibliographic, Structural and ontology
description.

 

 

Structural description: Structural description is required to control the access and display of
contents of manga. Because manga is a story-based resource, structural description needs to
have a description scheme based on a time-line like the metadata for video programs

 

 

 

 

DBpedia
seems a useful tool for the conversion task (DBpedia, 2009).