Since the beginning of the twenty-first century, the cultural industry, both in France and worldwide, has been through a massive and historical mutation. They have had to adapt to the emerging digital technology represented by the Internet and the new handheld devices such as smartphones and tablets. Although some industries successfully transfered a piece of their activity to the digital market and are about to find a sound business model, the comic books industry keeps looking for the right solution and has not yet produce anything as convincing as the music or movie offers. While many new young authors and writers use their creativity to produce specifically digital designed pieces of art, some other minds are focused on the preservation and the development of the already existing heritage. So far, efforts have been concentrated on the transfer from printed to digital support, with a special attention given to their specific features and how they can be used to create new reading conventions. There has also been some concerns about the content indexing, which is a hard task regarding the large amount of data created since the very beginning of the comics history. From a scientific point of view, there are several issues related to these goals. First, it implies to be able to identify the underlying structure of a comic books page. This comes through the extraction of the page's components, their validation and their correction based on the representation and reasoning capacities of two ontologies. The first one focus on the representation of the image analysis concepts and the second one represents the comic books domain knowledge. Secondly, a special attention is given to the semantic enhancement of the extracted elements, based on their spatial relations to each others and on their own characteristics. These annotations can be related to elements only (e.g. the position of a panel in the reading sequence), or to the bound between several elements (e.g. the text pronounced by a character).