网路漫画市场规模、份额及成长分析（按类型、最终用户、获利模式及地区划分）－2026-2033年产业预测

预计到 2024 年，全球网路漫画市场规模将达到 82.9 亿美元，到 2025 年将成长至 88 亿美元，到 2033 年将成长至 141.3 亿美元，在预测期（2026-2033 年）内，复合年增长率为 6.1%。

全球网路漫画市场是一个充满活力的行业，专注于在线销售数位漫画，包括图像小说、连环画和其他主导内容。创作者，从个人到机构，在包括个人网站和社群媒体在内的各种平台上发布作品，大大拓展了内容的传播范围。读者可以以实惠的价格订阅，并在智慧型手机、平板电脑和笔记型电脑上流畅地阅读内容。智慧型设备在儿童和成人中的普及，提升了人们对引人入胜故事的需求，推动了市场的潜在成长。此外，该市场也吸引了许多投资者的关注，他们渴望支持优秀的计划。这种充满活力的环境涵盖了各种风格和类型，为独立艺术家提供了与全球读者建立联繫的机会，并巩固了网路漫画在不断发展的数位媒体生态系统中的地位。

全球网路漫画市场的驱动因素

全球网路漫画市场深受科技普及和网路在全球广泛应用的影响。随着越来越多的人使用线上平台，数位内容（尤其是网路漫画）的消费量呈现爆炸性成长。智慧型手机的普及在这一转变中发挥了关键作用，用户越来越多地选择数位格式而非传统的实体漫画。这一趋势标誌着消费者行为的重大转变，他们更青睐网路漫画提供的便利性和易用性，最终推动了全球市场的扩张。数位环境持续发展，为网路漫画的创作者和读者建立了一个充满活力的生态系统。

限制全球网路漫画市场的因素

全球网路漫画市场的成长可能面临挑战，部分读者群对传统漫画书的强烈偏好便是原因之一。许多消费者仍钟情于传统的叙事和内容消费方式，对实体漫画的忠诚度明显高于电子版。这种对传统文化的执着可能会阻碍网路漫画的普及和发展，因为部分消费者可能不愿意接受新的阅读形式和平台。因此，这种对传统媒体的依赖可能会成为网路漫画市场进一步发展和扩散的一大障碍。

全球网路漫画市场趋势

全球网路漫画市场呈现出一个显着的趋势：创作者开始专注于浪漫爱情故事，吸引了不同性别和年龄层的多元化读者群。这一快速增长得益于现代约会文化和职场环境等社会趋势，以及智慧型手机的普及，使得数位内容更容易获取，也更具沉浸感。随着浪漫爱情网路漫画吸引更广泛的受众，其受欢迎程度持续攀升，影响着市场的创造性方向，并催生了一个充满活力的社群，读者们渴望找到能够引起共鸣的精彩故事。这种演变反映了消费者偏好和生活方式的改变，为市场成长创造了沃土。

目录

介绍

• 调查目标
• 调查范围
• 定义

调查方法

• 资讯收集
• 二手资料和一手资料方法
• 市场规模预测
• 市场假设与限制

执行摘要

• 全球市场展望
• 供需趋势分析
• 细分市场机会分析

市场动态与展望

• 市场规模
• 市场动态
  • 驱动因素和机会
  • 限制与挑战
• 波特分析

关键市场考察

• 关键成功因素
• 竞争程度
• 关键投资机会
• 市场生态系统
• 市场吸引力指数（2025）
• PESTEL 分析
• 总体经济指标
• 价值链分析
• 定价分析
• 客户和购买标准分析

全球网路漫画市场规模：按类型和复合年增长率划分（2026-2033 年）

• 喜剧
• 浪漫
• 动作/冒险
• 戏剧
• SF
• 其他的
  • 恐怖
  • 超级英雄

全球网路漫画市场规模（依最终用户划分）及复合年增长率（2026-2033 年）

• 适合儿童
• 成人

全球网路漫画市场规模：获利模式及复合年增长率（2026-2033）

• 订阅类型
• 广告收入模式
• 其他的

全球网路漫画市场规模及复合年增长率（2026-2033）

• 北美洲
  • 美国
  • 加拿大
• 欧洲
  • 德国
  • 西班牙
  • 法国
  • 英国
  • 义大利
  • 其他欧洲地区
• 亚太地区
  • 中国
  • 印度
  • 日本
  • 韩国
  • 亚太其他地区
• 拉丁美洲
  • 巴西
  • 其他拉丁美洲地区
• 中东和非洲
  • 海湾合作委员会国家
  • 南非
  • 其他中东和非洲地区

竞争资讯

• 前五大公司对比
• 主要企业的市场定位（2025 年）
• 主要市场参与者所采取的策略
• 近期市场趋势
• 公司市占率分析（2025 年）
• 主要企业公司简介
  • 公司详情
  • 产品系列分析
  • 依业务板块进行公司股票分析
  • 2023-2025年营收年比比较

主要企业简介

• Naver Corporation（South Korea）
• Kakao Entertainment（South Korea）
• NHN Japan Corporation（Japan）
• Lezhin Entertainment（South Korea）
• Toomics Global（South Korea）
• KidariStudio（South Korea）
• Tencent Holdings Limited（China）
• Bilibili Inc.（China）
• Kuaikan Manhua（China）
• Comico（Japan）
• MangaToon（China）
• Tapas Media（United States）
• LINE Corporation（Japan）
• Piccoma（Japan）
• Tappytoon（South Korea）
• WebComics（United States）
• Izneo（France）
• Delitoon（France）
• Stela（United States）
• Sukima（Japan）

结论与建议

Global Webcomics Market size was valued at USD 8.29 Billion in 2024 and is poised to grow from USD 8.8 Billion in 2025 to USD 14.13 Billion by 2033, growing at a CAGR of 6.1% during the forecast period (2026-2033).

The global webcomics market represents a dynamic sector focused on the online sale of digital comics, including graphic novels, strips, and other visually driven content. Creators, ranging from individuals to organizations, publish their work across various platforms such as personal websites and social media, significantly broadening accessibility. Readers can subscribe at affordable rates, enjoying seamless access to content via smartphones, tablets, and laptops. The proliferation of smart devices among both children and adults fuels potential growth, as more individuals seek engaging narratives. Furthermore, the market attracts investors eager to support captivating projects. This vibrant landscape showcases diverse styles and genres, providing independent artists opportunities to connect with audiences worldwide, solidifying webcomics' role in the expanding digital media ecosystem.

Top-down and bottom-up approaches were used to estimate and validate the size of the Global Webcomics market and to estimate the size of various other dependent submarkets. The research methodology used to estimate the market size includes the following details: The key players in the market were identified through secondary research, and their market shares in the respective regions were determined through primary and secondary research. This entire procedure includes the study of the annual and financial reports of the top market players and extensive interviews for key insights from industry leaders such as CEOs, VPs, directors, and marketing executives. All percentage shares split, and breakdowns were determined using secondary sources and verified through Primary sources. All possible parameters that affect the markets covered in this research study have been accounted for, viewed in extensive detail, verified through primary research, and analyzed to get the final quantitative and qualitative data.

Global Webcomics Market Segments Analysis

Global Webcomics Market is segmented by Genre, End-user, Monetization Model and region. Based on Genre, the market is segmented into Comedy, Romance, Action/Adventure, Drama, Science Fiction and Others. Based on End-user, the market is segmented into Kids and Adults. Based on Monetization Model, the market is segmented into Subscription-based, Advertising-supported and Others. Based on region, the market is segmented into North America, Europe, Asia Pacific, Latin America and Middle East & Africa.

Driver of the Global Webcomics Market

The global webcomics market is significantly influenced by the rising adoption of technology and the growing prevalence of internet access worldwide. As more individuals engage with online platforms, the consumption of digital content, particularly webcomics, has surged. The proliferation of smartphones has played a pivotal role in this shift, as users increasingly turn to digital formats over traditional physical comics. This trend highlights a substantial shift in consumer behavior, with a growing preference for the convenience and accessibility offered by webcomics, ultimately driving the market's expansion on a global scale. The digital landscape continues to evolve, fostering a vibrant ecosystem for webcomic creators and readers alike.

Restraints in the Global Webcomics Market

The growth of the global webcomics market may face challenges due to the enduring preference for traditional comic books among certain audiences. Many individuals remain attached to conventional forms of storytelling and content consumption, showing a distinct loyalty to physical comics over their digital counterparts. This attachment to established traditions can hinder the acceptance and expansion of webcomics, as some consumers may be resistant to embracing new formats or platforms for their reading experiences. Consequently, this reliance on traditional media could pose a significant obstacle to the further development and popularity of webcomics in the overall market landscape.

Market Trends of the Global Webcomics Market

The Global Webcomics market is witnessing a significant trend as creators increasingly focus on romantic narratives, appealing to a diverse audience across gender and age groups. This surge is driven by the contemporary societal dynamics of dating, work culture, and the pervasive use of smartphones, which enhance accessibility and engagement with digital content. As romantic webcomics capture the interest of a broad demographic, their popularity continues to soar, influencing the creative direction of the market and fostering a vibrant community where readers seek relatable and engaging storytelling. This evolution reflects the changing preferences and lifestyles of consumers, creating a fertile ground for growth.

Table of Contents

Introduction

• Objectives of the Study
• Scope of the Report
• Definitions

Research Methodology

• Information Procurement
• Secondary & Primary Data Methods
• Market Size Estimation
• Market Assumptions & Limitations

Executive Summary

• Global Market Outlook
• Supply & Demand Trend Analysis
• Segmental Opportunity Analysis

Market Dynamics & Outlook

• Market Overview
• Market Size
• Market Dynamics
  • Drivers & Opportunities
  • Restraints & Challenges
• Porters Analysis
  • Competitive rivalry
  • Threat of substitute
  • Bargaining power of buyers
  • Threat of new entrants
  • Bargaining power of suppliers

Key Market Insights

• Key Success Factors
• Degree of Competition
• Top Investment Pockets
• Market Ecosystem
• Market Attractiveness Index, 2025
• PESTEL Analysis
• Macro-Economic Indicators
• Value Chain Analysis
• Pricing Analysis
• Customer & Buying Criteria Analysis

Global Webcomics Market Size by Genre & CAGR (2026-2033)

• Market Overview
• Comedy
• Romance
• Action/Adventure
• Drama
• Science Fiction
• Others
  • Horror
  • Superhero

Global Webcomics Market Size by End-user & CAGR (2026-2033)

• Market Overview
• Kids
• Adults

Global Webcomics Market Size by Monetization Model & CAGR (2026-2033)

• Market Overview
• Subscription-based
• Advertising-supported
• Others

Global Webcomics Market Size & CAGR (2026-2033)

• North America (Genre, End-user, Monetization Model)
  • US
  • Canada
• Europe (Genre, End-user, Monetization Model)
  • Germany
  • Spain
  • France
  • UK
  • Italy
  • Rest of Europe
• Asia Pacific (Genre, End-user, Monetization Model)
  • China
  • India
  • Japan
  • South Korea
  • Rest of Asia-Pacific
• Latin America (Genre, End-user, Monetization Model)
  • Brazil
  • Rest of Latin America
• Middle East & Africa (Genre, End-user, Monetization Model)
  • GCC Countries
  • South Africa
  • Rest of Middle East & Africa

Competitive Intelligence

• Top 5 Player Comparison
• Market Positioning of Key Players, 2025
• Strategies Adopted by Key Market Players
• Recent Developments in the Market
• Company Market Share Analysis, 2025
• Company Profiles of All Key Players
  • Company Details
  • Product Portfolio Analysis
  • Company's Segmental Share Analysis
  • Revenue Y-O-Y Comparison (2023-2025)

Key Company Profiles

• Naver Corporation (South Korea)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• Kakao Entertainment (South Korea)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• NHN Japan Corporation (Japan)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• Lezhin Entertainment (South Korea)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• Toomics Global (South Korea)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• KidariStudio (South Korea)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• Tencent Holdings Limited (China)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• Bilibili Inc. (China)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• Kuaikan Manhua (China)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• Comico (Japan)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• MangaToon (China)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• Tapas Media (United States)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• LINE Corporation (Japan)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• Piccoma (Japan)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• Tappytoon (South Korea)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• WebComics (United States)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• Izneo (France)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• Delitoon (France)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• Stela (United States)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments
• Sukima (Japan)
  • Company Overview
  • Business Segment Overview
  • Financial Updates
  • Key Developments

Conclusion & Recommendations