“Webtoon” for Teaching Extensive Reading in Digital Era
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September 2014 Abstract
Creating a User-centred Metadata Schema for Digital Comics A study submitted in partial fulfillment of the requirements for the degree of Master of Science in Information Management at THE UNIVERSITY OF SHEFFIELD by Jeongha Son September 2014 Abstract Background. Due to the lack of research and commercial interest of digital comic metadata schemas, readers could face difficulties in finding digital comics. Therefore, a domain specific metadata schema should be considered and developed for supporting information seeking process digital comics. Aims. The research aimed to create user-centred metadata for digital comics by investigating the information seeking process of digital comic users. Methods. The research used a mixed methods approach including a combination of domain analysis and questionnaire. Domain analysis techniques were used to collect potential metadata elements for describing digital comics. A number of developed metadata schemas, commercial digital comic related websites and library catalogs were investigated. A questionnaire was also designed to investigate the information seeking process of digital comics’ users and was piloted with five digital comic readers. The URL link of the revised online questionnaire was distributed mainly by e-mail (the University of Sheffield student volunteer lists) to recruit digital comic readers (non-probability sampling). Finally, sixty-five digital comic readers took part in the survey. Results. Firstly, using the domain analysis technique a total of sixty-nine elements were collected. These were divided mainly in to two parts (elements for general description and elements for series, volume and episode (issue) description) to describe the hierarchical structures of digital comics. Secondly, a number of findings were made about digital comic users by analysing the result of the questionnaire. -
« WEBTOON, Spécial Pyeongchang »
COMMUNIQUÉ DE PRESSE « WEBTOON, Spécial PyeongChang » EXPOSITION DU 19 JANVIER AU 28 FEVRIER 2018 AU CENTRE CULTUREL CORÉEN Vernissage le mercredi 24 janvier 2018 à partir de 18h Une exposition à double thématique, nommée pour l’occasion «Webtoon, Spécial PyeongChang », s’ouvrira à Paris du 19 janvier au 28 février 2018 dans la grande galerie du Centre Culturel Coréen. Il s’agit de la première exposition de webtoons organisée conjointement par le Centre Culturel Coréen et la Korea Manhwa Contents Agency (KOMACON). © Korea Manhwa Contents Agency (KOMACON) Le terme « Webtoon » - combinaison des mots « web » et « toon » (cartoon) -, désigne la bande dessinée numérique diffusée sur le net. Il y a actuellement en Corée 59 plateformes avec 3183 auteurs de BD et 9148 différents cartoons disponibles. Les webtoons sont accessibles depuis un mobile et peuvent être regardés quel que soit le lieu où on se trouve : dans le métro, dans le bus, dans la rue… C’est certainement cette grande accessibilité qui explique le véritable « boom », ces dernières années, de ce nouveau type de bande dessinée en Corée. L’exposition « Webtoon, Spécial PyeongChang », outre l’objectif d’aborder le thème des J.O. d’hiver, permettra de faire découvrir aux visiteurs du Centre Culturel le potentiel à la fois technologique et créatif des webtoons coréens. Scindé en deux grandes parties avec une zone 1 « webtoon » d’un côté et une zone « J.O. de PyeongChang à travers les manhwas » de l’autre, l’espace d’exposition abordera chacun des deux thèmes sous un éclairage différent. Dans la zone « webtoon », on pourra découvrir l’histoire des BD coréennes en ligne, ainsi qu’une présentation des plateformes de diffusion disponible en France et aux États-Unis, telles que Delitoon, Line Webtoon, Lezhin Comics, Tapas Media, TappyToon, etc. -
Le Marché De La Bande Dessinée Numérique Et Les Ressources Mises À Ma Disposition M’Auront Éclairé Un Peu Plus Sur Le Sujet Et Ses Enjeux
Diplôme national de master Domaine - sciences humaines et sociales Mention – sciences de l’information et des bibliothèques Parcours – publication numérique Septembre 2018 Septembre / Le marché de la Bande dessinée nativement numérique Mémoire de fin d’étude de fin Mémoire Sarah SCHWEIGHOFFER Sous la direction de Benoît Epron Maître de conférences – enssib Remerciements Je tiens tout d’abord à remercier Monsieur Benoît EPRON et Monsieur Antoine FAUCHIE, respectivement Maître de Conférences et Chef de projet Web indépendant, pour leurs précieux conseils quant à l’élaboration et l’orientation de ce mémoire. Je souhaite aussi exprimer ma gratitude envers Monsieur Pascal ROBERT, Professeur à l’Enssib, dont les cours sur la Bande dessinée - en première année de master - m’ont insufflé l’envie de découvrir davantage cet art. Sans votre passion dans votre enseignement, ce mémoire n’aurait certainement pas vu le jour. Merci à vous. Je souhaiterais ensuite remercier le dessinateur et réalisateur Victor Dulon – alias Vidu – pour m’avoir laissé utiliser sans hésitation son œuvre L’Immeuble pour illustrer mes propos sur le Turbomédia. Ce mémoire a gagné en couleurs grâce à vous. Ma reconnaissance va ensuite à Monsieur Denis ZWIRN, Président au sein de l’entreprise Numilog, passionné par la Corée du Sud, lecteur de manhwa et de webtoons : votre point de vue sur le marché de la bande dessinée numérique et les ressources mises à ma disposition m’auront éclairé un peu plus sur le sujet et ses enjeux. Enfin je tenais à remercier les personnes ayant contribué -
Korean Webtoons' Transmedia Storytelling
International Journal of Communication 13(2019), 2094–2115 1932–8036/20190005 Snack Culture’s Dream of Big-Screen Culture: Korean Webtoons’ Transmedia Storytelling DAL YONG JIN1 Simon Fraser University, Canada The sociocultural reasons for the growth of webtoons as snack culture and snack culture’s influence in big-screen culture have received little scholarly attention. By employing media convergence supported by transmedia storytelling as a theoretical framework alongside historical and textual analyses, this article historicizes the emergence of snack culture. It divides the evolution of snack culture—in particular, webtoon culture—to big-screen culture into three periods according to the surrounding new media ecology. Then it examines the ways in which webtoons have become a resource for transmedia storytelling. Finally, it addresses the reasons why small snack culture becomes big-screen culture with the case of Along With the Gods: The Two Worlds, which has transformed from a popular webtoon to a successful big-screen movie. Keywords: snack culture, webtoon, transmedia storytelling, big-screen culture, media convergence Snack culture—the habit of consuming information and cultural resources quickly rather than engaging at a deeper level—is becoming representative of the Korean cultural scene. It is easy to find Koreans reading news articles or watching films or dramas on their smartphones on a subway. To cater to this increasing number of mobile users whose tastes are changing, web-based cultural content is churning out diverse subgenres from conventional formats of movies, dramas, cartoons, and novels (Chung, 2014, para. 1). The term snack culture was coined by Wired in 2007 to explain a modern tendency to look for convenient culture that is indulged in within a short duration of time, similar to how people eat snacks such as cookies within a few minutes. -
Korean Webtoonist Yoon Tae Ho: History, Webtoon Industry, and Transmedia Storytelling
International Journal of Communication 13(2019), Feature 2216–2230 1932–8036/2019FEA0002 Korean Webtoonist Yoon Tae Ho: History, Webtoon Industry, and Transmedia Storytelling DAL YONG JIN1 Simon Fraser University, Canada At the Asian Transmedia Storytelling in the Age of Digital Media Conference held in Vancouver, Canada, June 8–9, 2018, webtoonist Yoon Tae Ho as a keynote speaker shared several interesting and important inside stories people would not otherwise hear easily. He also provided his experience with, ideas about, and vision for transmedia storytelling during in-depth interviews with me, the organizer of the conference. I divide this article into two major sections—Yoon’s keynote speech in the first part and the interview in the second part—to give readers engaging and interesting perspectives on webtoons and transmedia storytelling. I organized his talk into several major subcategories based on key dimensions. I expect that this kind of unusual documentation of this famous webtoonist will shed light on our discussions about Korean webtoons and their transmedia storytelling prospects. Keywords: webtoon, manhwa, Yoon Tae Ho, transmedia, history Introduction Korean webtoons have come to make up one of the most significant youth cultures as well as snack cultures: Audiences consume popular culture like webtoons and Web dramas within 10 minutes on their notebook computers or smartphones (Jin, 2019; Miller, 2007). The Korean webtoon industry has grown rapidly, and many talented webtoonists, including Ju Ho-min, Kang Full, and Yoon Tae Ho, are now among the most famous and successful webtoonists since the mid-2000s. Their webtoons—in particular, Yoon Tae Ho’s, including Moss (Ikki, 2008–2009), Misaeng (2012–2013), and Inside Men (2010–in progress)—have gained huge popularity, and all were successfully transformed into films, television dramas, and digital games. -
Oasis Digital Studios and Apex Comics Group Partner with Comic-Book Industry Legends for New Multimedia Experiences and Nfts
Oasis Digital Studios and Apex Comics Group partner with Comic-Book Industry Legends for New Multimedia Experiences and NFTs Famed former Marvel Editor-in-ChiefTom DeFalco andartists Ron Frenz and Sal Buscema launch comic books, avatars, and AR enhanced NFT collectibles. Toronto / Vancouver, Canada / Erie PA / New York, NY – April 12, 2021 –Liquid Avatar Technologies Inc. (CSE: LQID / OTC:TRWRF / FRA:4T51) (“Liquid Avatar Technologies” or the “Company”,), a global blockchain, digital-identity and fintech solutions company, together with ImagineAR Inc. (CSE:IP / OTCQB:IPNFF), an Augmented Reality platform company, are excited to announce that Oasis Digital Studios (“Oasis”) has partnered with Apex Comics Group to publish Mr. Right, a new multimedia project by legendary Marvel Entertainment and pop culture veterans Tom DeFalco, Ron Frenz, and Sal Buscema. The program will consist of printed and digital comic books, digital avatars produced for the Liquid Avatar Mobile App and Marketplace, and AR enhanced NFT collectibles with Oasis. A sneak preview of the program will be made virtually on April 13th at the special presentation “NFTs Myths, Market, Media & Mania," hosted by Liquid Avatar, ImagineAR and Oasis Digital Studios: https://hello.liquidavatar.com/oasis-webinar-registration. The integrated campaign, expected to launch in early summer, will feature a series of limited- edition print and digital comic books, along with collector-enhanced NFTs, Liquid Avatar digital icons available in the Liquid Avatar Marketplace, and a fully immersive Augmented Reality multimedia program. A pre-sale waiting list is available for prospective purchasers and NFT collectors at the Oasis website: www.oasisdigitalstudios.com Mr. Right is led by Tom DeFalco, who was Marvel’s 10th Editor-in-Chief. -
Comixology and the Future of the Digital Comic Book
ComiXology and the Future of the Digital Comic Book Hannah Johnston Abstract Since its launch in 2007, comiXology has been a key player in the digital comic book industry. ComiXology acts as a mediator between readers and texts, offering unique features with a profound effect on the reading experience in a digital environment. The Guided View interface alters the relationship between content and form, and introduces a level of editing distinct from the physical comic book. Similarly, comiXology’s DRM-free backups and subscription service provide different models for ownership of digital content. ComiXology’s model can also be understood through analysis of e-book distribution; Amazon’s Kindle provides a salient counterpoint. This paper incorporates the theories of multiple digital humanities scholars in order to explore how comiXology is influencing the future of the comic book. Keywords: Comic books, digital humanities, distribution platforms, comiXology The digital comic book distribution platform comiXology is a valuable generative example in comparing various theoretical approaches to the medium. In this paper, I will analyze what reading experiences the comiXology interface inspires, and what relationship to the text it generates. By examining the digital comic book as a specific genre within wider discourse on the future of the book, this paper will engage with multiple salient topics: interface theory, e-commerce, and ownership of digital content. This holistic approach to digital comic books both examines how the medium is theorized in the digital humanities, and facilitates an exploration of its marketing and consumption as a mass-market product. ComiXology is an online distribution platform for digital comic books and graphic novels. -
Webtoons: the Next Frontier in Global Mobile Content
Media Webtoons: The next frontier in global mobile content Overweight (Maintain) Webtoons: No. 1 in Korea = No. 1 in the world Korea is the birthplace of webtoons. As a “snack-culture” format optimized to Industry Report smartphones, Korea’s webtoons have made significant progress over the years and September 20, 2019 now boast the strongest platform/content competitiveness in the world. As demand for mobile entert ainment continues to grow, webtoons are capturing the eyes and wallets of an increasing number of users, presenting a significant opportunity for Korean platform providers. Mirae Asset Daewoo Co., Ltd. Webtoons to take shape as a distinct market [Media ] Webtoons are more than just an online conversion of paper-based comic books. They Jeong -yeob Park represent a new form of content created by the mobile internet ecosystem. Not only is +822 -3774 -1652 the potential audience larger, but the time spent on webtoons tends to be longer than [email protected] time spent reading paper comics. In Kor ea, webtoons already account for the second largest share of time spent on apps, after videos. When assuming full monetization, the size of the webtoon market is on a completely different level than the traditional comic book market. Webtoons are also gai ning traction among younger people in the global market, similar to what we saw in Korea five to 10 years ago. With the help of marketing and a well-established user/writer base, webtoons look likely to take root as a new culture in overseas markets. Of note, LINE Webtoon has seen impressive user growth in the US , with 8mn monthly active users (MAU). -
Dynamics Between Agents in the New Webtoon Ecosystem in Korea: Responses to Waves of Transmedia and Transnationalism
International Journal of Communication 13(2019), 2161–2178 1932–8036/20190005 Dynamics Between Agents in the New Webtoon Ecosystem in Korea: Responses to Waves of Transmedia and Transnationalism JANE YEAHIN PYO1 University of Illinois at Urbana-Champaign, USA MINJI JANG Korea Creative Contents Agency, Republic of Korea TAE-JIN YOON Yonsei University, Republic of Korea Many forces have shaped the webtoon ecosystem into what it is today. The structure constantly evolves as webtoons gain popularity in and outside Korea and the number of agents entering the production field grows. Transmedia and transnationalism are also important factors that affect the structure of the webtoon ecosystem. This article portrays the lives of agents residing in the larger structure of the webtoon ecosystem. Using Giddens’ structuration and Hesmondhalgh’s cultural industry as a theoretical framework, this article identifies webtoon creators, producers, and platform companies as three core agents constituting the production field. From nine in-depth interviews with agents, we aim to capture their vivid experiences based on identity and power relations. Following Giddens’ duality, an interplay of agency and structure is evident. Moreover, as agents interact with one another, they also struggle for power. Because the webtoon ecosystem is greatly influenced by transmedia and transnationalism, we explore how agents are responding to structural changes created by these two waves. Keywords: Korean webtoon, transmedia, transnationalism, agents and structure, duality, media ecosystem, cultural industry, spreadable media, webtoon production field What is a webtoon? The word is a combination of the words Web and cartoon. These two terms separately are quite familiar and are encountered often in everyday life. -
Informational Materials
- t------------ - -- - !I ::·- .J_ -. ~ - ; Received by NSD/FARA Registration Unit 03/26/2018 9:51 :59 AM - ON KOREA 2018: ACADEMIC PAPER SERIES Volume 11 Received by NSD/F ARA Registration Unit 03/26/201.8 9:51 :59 AM Received by NSD/FARA Registration Unit 03/26/2018 9:5 I :59 AM - KEI EDITORIAL BOARD KEI Editors: Kyle Ferrier Contract Editor: Gimga Group Design: Gimga Group The Korea Economic Institute is registered under the Foreign Agents Registration Act as an agent of th_e Korea Institute for International Economic Policy, a public corporation · established by the Government of the Republic of Korea. This material is· filed with the D_epartment of Justice, where the required registration statement is available for public inspection. Registration does not indicate U.S. government approval of the contents of this do_cumerit. KEI is not engaged in the piactice bf law, does not render legal services, and is not a lobbying organization. The views expressed in this publication are those of the. authors. While this monograph is part of the overall program of the Korea Economic Institute endorsed by its Officers, Board of Directors, and Advisory Council, its c_ontents do not necessarily reflectthe views of individual members of the Board or of the Advisory Council. Copyright© 2018 Korea Economic.Institute of-America www,keia.org Printed in the United States of America. ISSN 1937-9196 Received by NSD/F ARA Registration :unit 03/26/2018 9:51 :59 AM Received by NSD/F ARA Registration Unit 03/26/2018 9:51:59 AM - CONTENTS KEI Board of Directors .................................................... -
Reading Print Comics and Webtoons Panel Reading That Changes the Way and Feels of Comics Storytelling Carolus Astabrata
Reading Print Comics and Webtoons Panel Reading That Changes the Way and Feels of Comics Storytelling Carolus Astabrata Graduate School of the Jakarta Institute of the Arts Abstract This study aims to find and distinguish the ways of reading between two types of comics that are presented differently in two different media, namely print and digital media. This different way of reading changes how the story is conveyed and told visually, and it has differences in the order of seeing, rhythm of reading, and its tempo of delivering information. Because by chang- ing the way of presenting information, the emphasis and the highlighted points in that body of information will change. This plays a role in the communication process. This study compares how information is presented in printed comics and digital comics in webtoon format. Samples were taken from action genre comics, namely Noblesse by Jeho Son and Kwangsu Lee and Angel Hearts by Tsukasa Hojo. To present action, a dynamic rhythm is needed and clear clarification between scenes is very important. By taking samples from com- ics that are in the action genre, the way information is conveyed is seen and distinguished from the tempo, reading direction and rhythm in the panel arranged in the format of the media. Keywords Panel, how to read, tempo, rhythm Introduction Comicbooks as a print media is a form of sequential storytelling thats been around for quite some time. This way of storytelling is been around since the early of 20th century, and the older form of this sequential art is been around even longer. -
Media/Entertainment Rise of Webtoons Presents Opportunities in Content Providers
Media/Entertainment Rise of webtoons presents opportunities in content providers The rise of webtoons Overweight (Maintain) Webtoons are emerging as a profitable new content format, just as video and music streaming services have in the past. In 2015, webtoons were successfull y monetized in Korea and Japan by NAVER (035420 KS/Buy/TP: W241,000/CP: W166,500) and Kakao Industry Report (035720 KS/Buy/TP: W243,000/CP: W158,000). In late 2018, webtoon user number s April 9, 2020 began to grow in the US and Southeast Asia, following global monetization. This year, NAVER Webtoon’s entry into Europe, combined with growing content consumption due to COVID-19 and the success of several webtoon-based dramas, has led to increasing opportunities for Korean webtoon companies. Based on Google Trends Mirae Asset Daewoo Co., Ltd. data, interest in webtoons is hitting all-time highs across major regions. [Media ] Korea is the global leader in webtoons; Market outlook appears bullish Jeong -yeob Park Korea is the birthplace of webtoons. Over the past two decades, Korea’s webtoon +822 -3774 -1652 industry has created sophisticated platforms and content, making it well-positioned for [email protected] growth in both price and volume. 1) Notably, the domestic webtoon industry adopted a partial monetization model, which is better suited to webtoons than monthly subscriptions and ads and has more upside potent ial in transaction volume. 2) The industry also has a well-established content ecosystem that centers on platforms. We believe average revenue per paying user (ARPPU), which is currently around W3,000, can rise to over W10,000 (similar to that of music and video streaming services) upon full monetization.