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市场调查报告书
商品编码
1970831

网路漫画市场－全球产业规模、份额、趋势、机会与预测：按类型、主要读者、收入模式、地区和竞争格局划分，2021-2031年

Webcomics Market - Global Industry Size, Share, Trends, Opportunity, and Forecast, Segmented By Genre, By Target Audience, By Revenue Model, By Region & Competition, 2021-2031F
出版日期: | 出版商: TechSci Research | 英文 185 Pages | 商品交期: 2-3个工作天内

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简介目录

全球网路漫画市场预计将从 2025 年的 97 亿美元成长到 2031 年的 153.2 亿美元，复合年增长率为 7.91%。

与传统数位化漫画不同，网路漫画是专为智慧型手机和平板电脑的垂直滚动浏览体验而优化的数位优先创作形式。高速行动互联网和智慧型装置的普及推动了这个市场的成长，为用户创造了无缝存取内容的环境。此外，独立创作者进入门槛低，以及「免费增值」获利模式的有效运用，确保了多样化内容的稳定供应和持续的用户参与度，从而巩固了行业的经济基础。

市场概览
预测期 2027-2031
市场规模：2025年 97亿美元
市场规模：2031年 153.2亿美元
复合年增长率：2026-2031年 7.91%
成长最快的细分市场 基于订阅
最大的市场 亚太地区

儘管网路漫画产业发展势头强劲，但仍面临着严峻的挑战：盗版严重损害了平台和创作者的收入。根据韩国文化产业振兴院（KCCA）的数据显示，网路漫画产业在上一财年（2025年）的营收预计将达到2.19兆韩元，呈现显着的年增长率。然而，除非加强智慧财产权保护措施，否则未经授权的传播可能会阻碍未来的投资，并限制市场的进一步扩张。

市场驱动因素

将网路漫画改编成电影、电视剧和电子游戏的趋势日益加速，这已成为推动产业发展的重要催化剂，将静态的智慧财产权转化为极具价值的多媒体IP。各大工作室越来越依赖连载数位漫画这种拥有成熟粉丝群的可靠内容来源，这种策略降低了开发新剧本的财务风险。这种模式不仅能带来授权收入，也能形成良性循环，引导改编作品的观众回归原作。正如Webtoon Entertainment在2024年5月提交的S-1表格註册声明中所述，截至2024年初，该公司旗下基于其智慧财产权的串流影集和电影已在全球发行超过100部。

同时，先进的在地化和翻译服务推动了市场的全球扩张，使企业能够触达先前受语言障碍限制的国际受众。主要厂商正投资于技术和伙伴关係关係，以使内容适应北美和欧洲等地区，从而实现市场多元化，使其不再局限于东亚。 Kakao Piccoma 于 2024 年 1 月发布的「2023 财年公布财报」印证了本地化的成功，该公告显示，其在日本的年度交易额超过 1000 亿日元。此外，全日本杂誌图书出版协会估计，光是日本数位漫画市场规模在 2024 年就将达到 4,830 亿日元，较上年有所成长。

市场挑战

数位盗版仍然是全球网路漫画市场发展的一大障碍，从根本上动摇了该行业的经济结构。非法平台绕过付费订阅和广告等合法获利模式，扰乱了内容消费和产生收入的关键环节。收入损失直接影响平台和创作者的投资回报，导致预算紧张，限制了他们资助多元化、高品质计划的能力。此外，盗版猖獗还会扭曲用户参与度数据，而这些数据对于策略规划和内容开发至关重要。

近期数据显示，非法业者的大量资金外流凸显了问题的严重性。根据日本作者、作曲家和出版商权益协会（JASRAC）统计，仅在2024年5月，由于主要英文盗版网站的非法活动，数位漫画产业就可能面临约8亿美元的潜在损失。如此大规模的资金外流将抑制未来的投资兴趣，并威胁到免费增值经营模式的永续性，而这种模式对于市场的永续发展至关重要。

市场趋势

在成本优化和加快发布速度的需求驱动下，生成式人工智慧（AI）与内容创作和在地化的融合正在迅速改变製作流程。虽然工作室正在采用AI工具来自动化背景渲染和翻译等任务，但这种转变在公司的效率目标和艺术家对创新自主权的担忧之间造成了差距。 2025年11月，《韩国时报》发表了一篇题为《网路漫画产业在法律与伦理挑战中寻求AI优势》的报导，揭示了儘管63.8%的网路漫画公司计划使用AI技术，但只有18.3%的艺术家实际使用了这些工具，这预示着未来创作者将不得不适应混合工作流程。

伴随技术变革，市场正向以创作者为中心的经济模式转型，这个模式优先考虑粉丝的直接支持而非单纯的广告收入。平台正在加强基础设施建设，以促进微支付和社区支持，使专业创作者能够摆脱传统出版安全隔离网闸的束缚，并继续创作。这种模式有助于吸引顶尖人才并製作高品质内容，Webtoon Entertainment Inc.于2025年11月发布的《2025年第三季财务业绩报告》证实了这一点。报告指出，季度付费内容收入达到2.868亿美元，凸显了用户直接支持创作者的经济可行性。

目录

第一章概述

第二章：调查方法

第三章执行摘要

第四章：客户心声

第五章：全球网路漫画市场展望

  • 市场规模及预测
    • 按金额
  • 市占率及预测
    • 按类型（动作、喜剧、恐怖、爱情、其他）
    • 主要读者（儿童、成人）
    • 收入模式（订阅制、广告製）
    • 按地区
    • 按公司（2025 年）
  • 市场地图

第六章：北美网路漫画市场展望

  • 市场规模及预测
  • 市占率及预测
  • 北美洲：国别分析
    • 我们
    • 加拿大
    • 墨西哥

第七章：欧洲网路漫画市场展望

  • 市场规模及预测
  • 市占率及预测
  • 欧洲：国别分析
    • 德国
    • 法国
    • 英国
    • 义大利
    • 西班牙

第八章：亚太地区网路漫画市场展望

  • 市场规模及预测
  • 市占率及预测
  • 亚太地区：国别分析
    • 中国
    • 印度
    • 日本
    • 韩国
    • 澳洲

第九章：中东与非洲网路漫画市场展望

  • 市场规模及预测
  • 市占率及预测
  • 中东与非洲：国别分析
    • 沙乌地阿拉伯
    • 阿拉伯聯合大公国
    • 南非

第十章：南美洲网路漫画市场展望

  • 市场规模及预测
  • 市占率及预测
  • 南美洲：国别分析
    • 巴西
    • 哥伦比亚
    • 阿根廷

第十一章 市场动态

  • 促进因素
  • 任务

第十二章 市场趋势与发展

  • 併购
  • 产品发布
  • 近期趋势

第十三章：全球网路漫画市场：SWOT分析

第十四章：波特五力分析

  • 产业竞争
  • 新进入者的潜力
  • 供应商的议价能力
  • 顾客权力
  • 替代品的威胁

第十五章 竞争格局

  • The Walt Disney Company
  • Embracer Group AB
  • Image Comics, Inc.
  • Warner Bros. Discovery, Inc.
  • IDW Media Holdings, Inc.
  • Lion Forge Entertainment
  • Shueisha Inc.
  • Shogakukan Inc.
  • Kadokawa Corporation
  • Lezhin Entertainment, LLC

第十六章 策略建议

第十七章：关于研究公司及免责声明

简介目录
Product Code: 24432

The Global Webcomics Market is projected to expand from USD 9.70 Billion in 2025 to USD 15.32 Billion by 2031, registering a CAGR of 7.91%. Unlike traditional digitized manga, webcomics are digital-first creations optimized for vertical scrolling on smartphones and tablets. This market growth is propelled by the widespread availability of high-speed mobile internet and the ubiquity of smart devices, which facilitate seamless access for users. Additionally, the industry's economic foundation is strengthened by low barriers to entry for independent creators and the effective use of "freemium" monetization models, which ensure a steady stream of diverse content and sustained audience engagement.

Market Overview
Forecast Period2027-2031
Market Size 2025USD 9.70 Billion
Market Size 2031USD 15.32 Billion
CAGR 2026-20317.91%
Fastest Growing SegmentSubscription-Based
Largest MarketAsia Pacific

Despite this positive growth trajectory, the industry confronts a major challenge in the form of digital piracy, which significantly erodes revenue for both platforms and artists. Data from the Korea Creative Content Agency indicates that the webtoon industry generated 2.19 trillion KRW in 2025 for the prior fiscal period, showing substantial annual progress. However, without the implementation of more robust intellectual property protections, unauthorized distribution threatens to stifle future investment and dampen the broader expansion of the market.

Market Driver

The accelerating trend of adapting webcomics into movies, television series, and video games acts as a primary growth catalyst, converting static intellectual property into valuable multimedia franchises. Studios increasingly rely on serialized digital comics as proven content sources with established fanbases, a strategy that lowers the financial risks of new script development. This approach not only generates licensing revenue but creates a feedback loop that directs viewers of adaptations back to the original source material. As noted in Webtoon Entertainment Inc.'s 'Form S-1 Registration Statement' from May 2024, over 100 streaming series and films based on their intellectual property had been released globally by early 2024.

Concurrently, the market is expanding its global reach through advanced localization and translation services, allowing platforms to engage international audiences previously limited by language barriers. Major operators are investing in technology and partnerships to adapt content for regions like North America and Europe, diversifying the market beyond its East Asian roots. The success of this localization is evident in Kakao Piccoma Corp.'s '2023 Annual Results Announcement' from January 2024, which reported annual transaction volumes in Japan exceeding 100 billion JPY. Furthermore, the All Japan Magazine and Book Publisher's and Editor's Association valued the Japanese digital comics market alone at 483 billion JPY in 2024 for the preceding year.

Market Challenge

Digital piracy remains a critical obstacle to the global webcomics market, fundamentally destabilizing the industry's economic structure. By bypassing legitimate monetization avenues such as paid subscriptions and advertising, unauthorized platforms sever the essential link between content consumption and revenue generation. This loss of income directly impacts the return on investment for platforms and creators, forcing budget constraints and limiting the ability to fund diverse, high-quality projects. Furthermore, widespread piracy distorts the user engagement data that is crucial for strategic planning and content development.

The severity of this issue is highlighted by recent data showing the massive financial leakage caused by illicit operators. According to the Authorized Books of Japan, the digital comics sector faced a potential loss of approximately 800 million U.S. dollars in May 2024 alone due to unauthorized activity on major English-language piracy sites. Such significant capital drainage disincentivizes future investment and threatens the sustainability of the freemium business models that are vital for the market's continued evolution.

Market Trends

The integration of Generative AI for content creation and localization is rapidly transforming production workflows, driven by the need to optimize costs and expedite release schedules. While studios adopt AI tools to automate tasks like background rendering and translation, this shift has sparked a divide between corporate efficiency goals and artist concerns regarding creative autonomy. A November 2025 article in The Korea Times, titled 'Webtoon industry seeks AI edge amid legal, ethical challenges,' cited a survey indicating that 63.8 percent of webtoon businesses plan to use AI technology, compared to only 18.3 percent of artists who have utilized these tools, suggesting a future where creators must adapt to hybrid workflows.

Parallel to this technological shift, the market is moving toward a creator-centric economy that prioritizes direct fan support over purely ad-based revenue. Platforms are enhancing their infrastructure to facilitate micropayments and community backing, allowing professional creators to sustain operations independently of traditional publishing gatekeepers. This model supports the retention of top talent and the production of premium content, a success validated by Webtoon Entertainment Inc.'s 'Third Quarter 2025 Financial Results' from November 2025, which reported paid content revenue of $286.8 million for the quarter, underscoring the financial viability of direct user-to-creator support.

Key Market Players

  • The Walt Disney Company
  • Embracer Group AB
  • Image Comics, Inc.
  • Warner Bros. Discovery, Inc.
  • IDW Media Holdings, Inc.
  • Lion Forge Entertainment
  • Shueisha Inc.
  • Shogakukan Inc.
  • Kadokawa Corporation
  • Lezhin Entertainment, LLC

Report Scope

In this report, the Global Webcomics Market has been segmented into the following categories, in addition to the industry trends which have also been detailed below:

Webcomics Market, By Genre

  • Action
  • Comedy
  • Horror
  • Romance
  • Others

Webcomics Market, By Target Audience

  • Kids
  • Adults

Webcomics Market, By Revenue Model

  • Subscription-based
  • Ad-based

Webcomics Market, By Region

  • North America
    • United States
    • Canada
    • Mexico
  • Europe
    • France
    • United Kingdom
    • Italy
    • Germany
    • Spain
  • Asia Pacific
    • China
    • India
    • Japan
    • Australia
    • South Korea
  • South America
    • Brazil
    • Argentina
    • Colombia
  • Middle East & Africa
    • South Africa
    • Saudi Arabia
    • UAE

Competitive Landscape

Company Profiles: Detailed analysis of the major companies present in the Global Webcomics Market.

Available Customizations:

Global Webcomics Market report with the given market data, TechSci Research offers customizations according to a company's specific needs. The following customization options are available for the report:

Company Information

  • Detailed analysis and profiling of additional market players (up to five).

Table of Contents

1. Product Overview

  • 1.1. Market Definition
  • 1.2. Scope of the Market
    • 1.2.1. Markets Covered
    • 1.2.2. Years Considered for Study
    • 1.2.3. Key Market Segmentations

2. Research Methodology

  • 2.1. Objective of the Study
  • 2.2. Baseline Methodology
  • 2.3. Key Industry Partners
  • 2.4. Major Association and Secondary Sources
  • 2.5. Forecasting Methodology
  • 2.6. Data Triangulation & Validation
  • 2.7. Assumptions and Limitations

3. Executive Summary

  • 3.1. Overview of the Market
  • 3.2. Overview of Key Market Segmentations
  • 3.3. Overview of Key Market Players
  • 3.4. Overview of Key Regions/Countries
  • 3.5. Overview of Market Drivers, Challenges, Trends

4. Voice of Customer

5. Global Webcomics Market Outlook

  • 5.1. Market Size & Forecast
    • 5.1.1. By Value
  • 5.2. Market Share & Forecast
    • 5.2.1. By Genre (Action, Comedy, Horror, Romance, Others)
    • 5.2.2. By Target Audience (Kids, Adults)
    • 5.2.3. By Revenue Model (Subscription-based, Ad-based)
    • 5.2.4. By Region
    • 5.2.5. By Company (2025)
  • 5.3. Market Map

6. North America Webcomics Market Outlook

  • 6.1. Market Size & Forecast
    • 6.1.1. By Value
  • 6.2. Market Share & Forecast
    • 6.2.1. By Genre
    • 6.2.2. By Target Audience
    • 6.2.3. By Revenue Model
    • 6.2.4. By Country
  • 6.3. North America: Country Analysis
    • 6.3.1. United States Webcomics Market Outlook
      • 6.3.1.1. Market Size & Forecast
        • 6.3.1.1.1. By Value
      • 6.3.1.2. Market Share & Forecast
        • 6.3.1.2.1. By Genre
        • 6.3.1.2.2. By Target Audience
        • 6.3.1.2.3. By Revenue Model
    • 6.3.2. Canada Webcomics Market Outlook
      • 6.3.2.1. Market Size & Forecast
        • 6.3.2.1.1. By Value
      • 6.3.2.2. Market Share & Forecast
        • 6.3.2.2.1. By Genre
        • 6.3.2.2.2. By Target Audience
        • 6.3.2.2.3. By Revenue Model
    • 6.3.3. Mexico Webcomics Market Outlook
      • 6.3.3.1. Market Size & Forecast
        • 6.3.3.1.1. By Value
      • 6.3.3.2. Market Share & Forecast
        • 6.3.3.2.1. By Genre
        • 6.3.3.2.2. By Target Audience
        • 6.3.3.2.3. By Revenue Model

7. Europe Webcomics Market Outlook

  • 7.1. Market Size & Forecast
    • 7.1.1. By Value
  • 7.2. Market Share & Forecast
    • 7.2.1. By Genre
    • 7.2.2. By Target Audience
    • 7.2.3. By Revenue Model
    • 7.2.4. By Country
  • 7.3. Europe: Country Analysis
    • 7.3.1. Germany Webcomics Market Outlook
      • 7.3.1.1. Market Size & Forecast
        • 7.3.1.1.1. By Value
      • 7.3.1.2. Market Share & Forecast
        • 7.3.1.2.1. By Genre
        • 7.3.1.2.2. By Target Audience
        • 7.3.1.2.3. By Revenue Model
    • 7.3.2. France Webcomics Market Outlook
      • 7.3.2.1. Market Size & Forecast
        • 7.3.2.1.1. By Value
      • 7.3.2.2. Market Share & Forecast
        • 7.3.2.2.1. By Genre
        • 7.3.2.2.2. By Target Audience
        • 7.3.2.2.3. By Revenue Model
    • 7.3.3. United Kingdom Webcomics Market Outlook
      • 7.3.3.1. Market Size & Forecast
        • 7.3.3.1.1. By Value
      • 7.3.3.2. Market Share & Forecast
        • 7.3.3.2.1. By Genre
        • 7.3.3.2.2. By Target Audience
        • 7.3.3.2.3. By Revenue Model
    • 7.3.4. Italy Webcomics Market Outlook
      • 7.3.4.1. Market Size & Forecast
        • 7.3.4.1.1. By Value
      • 7.3.4.2. Market Share & Forecast
        • 7.3.4.2.1. By Genre
        • 7.3.4.2.2. By Target Audience
        • 7.3.4.2.3. By Revenue Model
    • 7.3.5. Spain Webcomics Market Outlook
      • 7.3.5.1. Market Size & Forecast
        • 7.3.5.1.1. By Value
      • 7.3.5.2. Market Share & Forecast
        • 7.3.5.2.1. By Genre
        • 7.3.5.2.2. By Target Audience
        • 7.3.5.2.3. By Revenue Model

8. Asia Pacific Webcomics Market Outlook

  • 8.1. Market Size & Forecast
    • 8.1.1. By Value
  • 8.2. Market Share & Forecast
    • 8.2.1. By Genre
    • 8.2.2. By Target Audience
    • 8.2.3. By Revenue Model
    • 8.2.4. By Country
  • 8.3. Asia Pacific: Country Analysis
    • 8.3.1. China Webcomics Market Outlook
      • 8.3.1.1. Market Size & Forecast
        • 8.3.1.1.1. By Value
      • 8.3.1.2. Market Share & Forecast
        • 8.3.1.2.1. By Genre
        • 8.3.1.2.2. By Target Audience
        • 8.3.1.2.3. By Revenue Model
    • 8.3.2. India Webcomics Market Outlook
      • 8.3.2.1. Market Size & Forecast
        • 8.3.2.1.1. By Value
      • 8.3.2.2. Market Share & Forecast
        • 8.3.2.2.1. By Genre
        • 8.3.2.2.2. By Target Audience
        • 8.3.2.2.3. By Revenue Model
    • 8.3.3. Japan Webcomics Market Outlook
      • 8.3.3.1. Market Size & Forecast
        • 8.3.3.1.1. By Value
      • 8.3.3.2. Market Share & Forecast
        • 8.3.3.2.1. By Genre
        • 8.3.3.2.2. By Target Audience
        • 8.3.3.2.3. By Revenue Model
    • 8.3.4. South Korea Webcomics Market Outlook
      • 8.3.4.1. Market Size & Forecast
        • 8.3.4.1.1. By Value
      • 8.3.4.2. Market Share & Forecast
        • 8.3.4.2.1. By Genre
        • 8.3.4.2.2. By Target Audience
        • 8.3.4.2.3. By Revenue Model
    • 8.3.5. Australia Webcomics Market Outlook
      • 8.3.5.1. Market Size & Forecast
        • 8.3.5.1.1. By Value
      • 8.3.5.2. Market Share & Forecast
        • 8.3.5.2.1. By Genre
        • 8.3.5.2.2. By Target Audience
        • 8.3.5.2.3. By Revenue Model

9. Middle East & Africa Webcomics Market Outlook

  • 9.1. Market Size & Forecast
    • 9.1.1. By Value
  • 9.2. Market Share & Forecast
    • 9.2.1. By Genre
    • 9.2.2. By Target Audience
    • 9.2.3. By Revenue Model
    • 9.2.4. By Country
  • 9.3. Middle East & Africa: Country Analysis
    • 9.3.1. Saudi Arabia Webcomics Market Outlook
      • 9.3.1.1. Market Size & Forecast
        • 9.3.1.1.1. By Value
      • 9.3.1.2. Market Share & Forecast
        • 9.3.1.2.1. By Genre
        • 9.3.1.2.2. By Target Audience
        • 9.3.1.2.3. By Revenue Model
    • 9.3.2. UAE Webcomics Market Outlook
      • 9.3.2.1. Market Size & Forecast
        • 9.3.2.1.1. By Value
      • 9.3.2.2. Market Share & Forecast
        • 9.3.2.2.1. By Genre
        • 9.3.2.2.2. By Target Audience
        • 9.3.2.2.3. By Revenue Model
    • 9.3.3. South Africa Webcomics Market Outlook
      • 9.3.3.1. Market Size & Forecast
        • 9.3.3.1.1. By Value
      • 9.3.3.2. Market Share & Forecast
        • 9.3.3.2.1. By Genre
        • 9.3.3.2.2. By Target Audience
        • 9.3.3.2.3. By Revenue Model

10. South America Webcomics Market Outlook

  • 10.1. Market Size & Forecast
    • 10.1.1. By Value
  • 10.2. Market Share & Forecast
    • 10.2.1. By Genre
    • 10.2.2. By Target Audience
    • 10.2.3. By Revenue Model
    • 10.2.4. By Country
  • 10.3. South America: Country Analysis
    • 10.3.1. Brazil Webcomics Market Outlook
      • 10.3.1.1. Market Size & Forecast
        • 10.3.1.1.1. By Value
      • 10.3.1.2. Market Share & Forecast
        • 10.3.1.2.1. By Genre
        • 10.3.1.2.2. By Target Audience
        • 10.3.1.2.3. By Revenue Model
    • 10.3.2. Colombia Webcomics Market Outlook
      • 10.3.2.1. Market Size & Forecast
        • 10.3.2.1.1. By Value
      • 10.3.2.2. Market Share & Forecast
        • 10.3.2.2.1. By Genre
        • 10.3.2.2.2. By Target Audience
        • 10.3.2.2.3. By Revenue Model
    • 10.3.3. Argentina Webcomics Market Outlook
      • 10.3.3.1. Market Size & Forecast
        • 10.3.3.1.1. By Value
      • 10.3.3.2. Market Share & Forecast
        • 10.3.3.2.1. By Genre
        • 10.3.3.2.2. By Target Audience
        • 10.3.3.2.3. By Revenue Model

11. Market Dynamics

  • 11.1. Drivers
  • 11.2. Challenges

12. Market Trends & Developments

  • 12.1. Merger & Acquisition (If Any)
  • 12.2. Product Launches (If Any)
  • 12.3. Recent Developments

13. Global Webcomics Market: SWOT Analysis

14. Porter's Five Forces Analysis

  • 14.1. Competition in the Industry
  • 14.2. Potential of New Entrants
  • 14.3. Power of Suppliers
  • 14.4. Power of Customers
  • 14.5. Threat of Substitute Products

15. Competitive Landscape

  • 15.1. The Walt Disney Company
    • 15.1.1. Business Overview
    • 15.1.2. Products & Services
    • 15.1.3. Recent Developments
    • 15.1.4. Key Personnel
    • 15.1.5. SWOT Analysis
  • 15.2. Embracer Group AB
  • 15.3. Image Comics, Inc.
  • 15.4. Warner Bros. Discovery, Inc.
  • 15.5. IDW Media Holdings, Inc.
  • 15.6. Lion Forge Entertainment
  • 15.7. Shueisha Inc.
  • 15.8. Shogakukan Inc.
  • 15.9. Kadokawa Corporation
  • 15.10. Lezhin Entertainment, LLC

16. Strategic Recommendations

17. About Us & Disclaimer