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In this article, we propose and apply a method to compare adaptations of the same story across different media. We tackle this task by modelling such adaptations through character networks. We compare them by leveraging two concepts at the core of storytelling: the characters involved, and the dynamics of the story. We propose several methods to match characters between media and compare their position in the networks; and perform narrative matching, i.e. match the sequences of narrative units that constitute the plots. We apply these methods to the novel series A Song of Ice and Fire, by G.R.R. Martin, and its comics and TV show adaptations. Our results show that interactions between characters are not sufficient to properly match individual characters between adaptations, but that using some additional information such as character affiliation or gender significantly improves the performance. On the contrary, character interactions convey enough information to perform narrative matching, and allow us to detect the divergence between the original novels and its TV show adaptation.

Narrative works (e.g., novels and movies) consist of various utterances (e.g., scenes and episodes) with multi-layered structures. However, the existing studies aimed to embed only stories in a narrative work. By covering other granularity levels, we can easily compare narrative utterances that are coarser (e.g., movie series) or finer (e.g., scenes) than a narrative work. We apply the multi-layered structures on learning hierarchical representations of the narrative utterances. To represent coarser utterances, we consider adjacency and appearance of finer utterances in the coarser ones. For the movies, we suppose a four-layered structure (character roles ∈ characters ∈ scenes ∈ movies) and propose three learning methods bridging the layers: Char2Vec, Scene2Vec, and Hierarchical Story2Vec. Char2Vec represents a character by using dynamic changes in the character’s roles. To find the character roles, we use substructures of character networks (i.e., dynamic social networks of characters). A scene describes an event. Interactions between characters in the scene are designed to describe the event. Scene2Vec learns representations of a scene from interactions between characters in the scene. A story is a series of events. Meanings of the story are affected by order of the events as well as their content. Hierarchical Story2Vec uses sequential order of scenes to represent stories. The proposed model has been evaluated by estimating the similarity between narrative utterances in real movies.

The narrative structure of animated films plays a critical role in shaping audience perception, yet quantitative investigations into how character interaction networks influence film ratings remain limited. To address this gap, we apply complex network theory to analyze 82 animated films, extracting character networks from narrative interactions and examining key topological features—including centrality heterogeneity, protagonist relative centrality, network density, clustering coefficient, average shortest path length, and semantic diversity of relationships. Our findings demonstrate that higher-rated films are characterized by greater disparities in character centrality, lower network density and efficiency, longer average shortest path lengths, and richer semantic diversity. These structural patterns suggest that loosely connected yet hierarchically organized character networks enhance narrative complexity and audience engagement. The proposed framework offers a quantitative, data-driven approach to narrative design and provides a theoretical foundation for analyzing storytelling structures across diverse media, including novels, television series, and comics.

Interaction networks are a method of displaying the significant characters in a narrative text and their interactions. We automatically construct interaction networks from dialogues in German fairy tales by the Brothers Grimm and subsequently visualize these networks. This requires the combination of algorithms for several tasks: coreference resolution for the identification of characters and their appearances, as well as speaker/addressee detection and the detection of dialogue boundaries for the identification of interactions. After an evaluation of the individual algorithms, the predicted networks are evaluated against benchmarks established by networks based on manually annotated coreference and speaker/addressee information. The evaluation focuses on specific components of the predicted networks, such as the nodes, as well as the overall network, employing a newly devised score. This is followed by an analysis of various types of errors that the algorithms can make, like a coreference resolution algorithm not realizing that the frog has transformed into a prince, and their impact on the created networks. We find that the quality of many predicted networks is satisfactory for use cases in which the reliability of edges and character types are not of critical importance. However, there is considerable room for improvement.

Manga, Japanese comics, has been popular on a global scale. Social networks among characters, which are often called character networks, may be a significant contributor to their popularity. We collected data from 162 popular manga that span over 70 years and analyzed their character networks. First, we found that many of static and temporal properties of the character networks are similar to those of real human social networks. Second, the character networks of most manga are protagonist-centered such that a single protagonist interacts with the majority of other characters. Third, the character networks for manga mainly targeting boys have shifted to denser and less protagonist-centered networks and with fewer characters over decades. Manga mainly targeting girls showed the opposite trend except for the downward trend in the number of characters. The present study, which relies on manga data sampled on an unprecedented scale, paves the way for further population studies of character networks and other aspects of comics.

Despite the advances in computational literary analysis of Western literature, in-depth analysis of the South Asian literature has been lacking. Thus, social network analysis of the main characters in the Indian epic Mahabharata was performed, in which it was prepossessed into verses, followed by a term frequency–inverse document frequency (TF-IDF) transformation. Then, Latent Semantic Analysis (LSA) word vectors were obtained by applying compact Singular Value Decomposition (SVD) on the term–document matrix. As a novel innovation to this study, these word vectors were adaptively converted into a fully connected similarity matrix and transformed, using a novel locally weighted K-Nearest Neighbors (KNN) algorithm, into a social network. The viability of the social networks was assessed by their ability to (i) recover individual character-to-character relationships; (ii) embed the overall network structure (verified with centrality measures and correlations); and (iii) detect communities of the Pandavas (protagonist) and Kauravas (antagonist) using spectral clustering. Thus, the proposed scheme successfully (i) predicted the character-to-character connections of the most important and second most important characters at an F-score of 0.812 and 0.785, respectively, (ii) recovered the overall structure of the ground-truth networks by matching the original centralities (corr. > 0.5, p < 0.05), and (iii) differentiated the Pandavas from the Kauravas with an F-score of 0.749.

This study aims to decompose plot structures of stories in narrative multimedia (i.e., creative works that contain stories and are distributed through multimedia). Since a story is interwoven with main plots and subplots (i.e., primary and ancillary story lines), decomposing a story into multiple story lines enables us to analyze how events in the story are allocated and logically connected. For the decomposition, the existing studies employed character networks (i.e., social networks of characters that appeared in a story) and assumed that characters’ social relationships are consistent in a story line. However, these studies overlooked that social relationships significantly change around major events. To solve this problem, we attempt to use the changes for distinguishing story lines rather than suffer from the changes. We concentrate on the changes in characters’ social relationships being the result of changes in their personalities. Moreover, these changes gradually proceed within a story line. Therefore, we first propose features for measuring changes in personalities of characters: (i) Degrees of characters in character networks, (ii) lengths of dialogues spoken by characters, and (iii) ratios of out-degrees for in-degrees of characters in character networks. We supposed these features reflect importance, inner/outer conflicts, and activeness of characters, respectively. Since characters’ personalities gradually change in a story line, we can suppose that the features also show gradual story developments in a story line. Therefore, we conduct regression for each feature to discover dominant tendencies of the features. By filtering scenes that do not follow the tendencies, we extract a story line that exhibits the most dominant personality changes. We can decompose stories into multiple story lines by iterating the regression and filtering. Besides, personalities of characters change more significantly in major story lines. Based on this assumption, we also propose methods for discriminating main plots. Finally, we evaluated the accuracy of the proposed methods by applying them to the movies, which is one of the most popular narrative multimedia.

The maximum eigenvalue of the adjacency matrix (AM) has been supposed to contain rich information about the corresponding network. An experimental study focused on revealing the meaning and application of the maximum eigenvalue is missing. To this end, AM was constructed using mutual information (MI) to determine the functional connectivity with electroencephalogram (EEG) data recorded with a mental fatigue model, and then was converted into both binary and weighted brain functional network (BFN) and corresponding random networks (RNs). Both maximum eigenvalue and corresponding network characters in BFNs and RNs were considered to explore the changes during the formation of mental fatigue. The results indicated that large maximum eigenvalue means more edges in the corresponding network, along with a high degree and a short characteristic path length both in weighted and binary BFNs. Interestingly, the maximum eigenvalue of AM was always a little larger than that of the corresponding random matrix (RM), and had an obvious linearity with the sum of the AM elements, indicating that the maximum eigenvalue can be able to distinguish the network structures which have the same mean degree. What is more, the maximum eigenvalue, which increased with the deepening of mental fatigue, can become a good indicator for mental fatigue estimation.

Given a corpus of western classic plays, how to efficiently mine their potential composing patterns is an open issue in computational linguistics. Several methods have been proposed to extract and analyze their character networks, however at least two problems remain unsolved: (1) the modeling is time-consuming and imprecise since it is difficult to identify “who talks to whom”, and (2) the analysis fails to reveal the evolving path from micro features to macro emergences, where the key attribute of plays, i.e. diversified protagonist characteristics, shaped. In this paper, by making good use of the play narratage (off screen voice) and the network motif theory, we propose a novel mining framework, called wMotif. The framework consists of five algorithms, preprocessing, stage iteration, character identification, character correlating and weighted motif mining. Considering top 9 referred network indices as contenders, we take 65 real-world classic plays as the dataset and evaluate wMotif’s performance upon a playwright predicting problem. Comparisons show that wMotif is superior in precision, complexity and visualization. Through wMotif we find that, (1) complete triads with pure strong (motif #1306) or weak (motif #1360) edges are the top two significant patterns for playwright predicting, and (2) given a strong speaker-to-listener correlation, whether in most cases both ends loosely connect to a shared character (motif #512) can indicate a work’s genre.