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市場調查報告書
商品編碼
1970831

網路漫畫市場－全球產業規模、佔有率、趨勢、機會與預測：按類型、主要讀者、收入模式、地區和競爭格局分類，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個工作天內

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簡介目錄

全球網路漫畫市場預計將從 2025 年的 97 億美元成長到 2031 年的 153.2 億美元，複合年成長率為 7.91%。

與傳統數位化漫畫不同，網路漫畫是專為智慧型手機和平板電腦的垂直滾動瀏覽體驗而最佳化的數位優先創作形式。高速行動網際網路和智慧型裝置的普及推動了這個市場的成長，為用戶創造了無縫存取內容的環境。此外，獨立創作者進入門檻低，以及「免費增值」獲利模式的有效運用，確保了多樣化內容的穩定供應和持續的用戶參與度，從而鞏固了行業的經濟基礎。

市場概覽
預測期 2027-2031
市場規模：2025年 97億美元
市場規模：2031年 153.2億美元
複合年成長率：2026-2031年 7.91%
成長最快的細分市場 基於訂閱
最大的市場 亞太地區

儘管網路漫畫產業發展勢頭強勁，但仍面臨著嚴峻的挑戰：盜版嚴重損害了平台和創作者的收入。根據韓國文化產業振興院（KCCA）的數據顯示，網路漫畫產業在上一會計年度（2025年）的營收預計將達到2.19兆韓元，呈現顯著的年成長率。然而，除非加強智慧財產權保護措施，否則未經授權的傳播可能會阻礙未來的投資，並限制市場的進一步擴張。

市場促進因素

將網路漫畫改編成電影、電視劇和電子遊戲的趨勢日益加速，這已成為推動產業發展的重要催化劑，將靜態的智慧財產權轉化為極具價值的多媒體IP。各大工作室越來越依賴連載數位漫畫這種擁有成熟粉絲群的可靠內容來源，這種策略降低了開發新劇本的財務風險。這種模式不僅能帶來授權收入，也能形成良性循環，引導改編作品的觀眾回歸原作。正如Webtoon Entertainment在2024年5月提交的S-1表格註冊聲明中所述，截至2024年初，該公司旗下基於其智慧財產權的串流影集和電影已在全球發行超過100部。

同時，先進的在地化和翻譯服務推動了市場的全球擴張，使企業能夠觸達先前受語言障礙限制的國際受眾。主要廠商正投資於技術和夥伴關係關係，以使內容適應北美和歐洲等地區，從而實現市場多元化，使其不再局限於東亞。 Kakao Piccoma 於 2024 年 1 月發布的「2023 會計年度公佈財報」印證了本地化的成功，該公告顯示，其在日本的年度交易額超過 1000 億日元。此外，全日本雜誌圖書出版協會估計，光是日本數位漫畫市場規模在 2024 年就將達到 4,830 億日元，較上年有所成長。

市場挑戰

數位盜版仍然是全球網路漫畫市場發展的一大障礙，從根本上動搖了該行業的經濟結構。非法平台繞過付費訂閱和廣告等合法獲利模式，擾亂了內容消費和產生收入的關鍵環節。收入損失直接影響平台和創作者的投資回報，導致預算緊張，限制了他們資助多元化、高品質計劃的能力。此外，盜版猖獗還會扭曲用戶參與度數據，而這些數據對於策略規劃和內容開發至關重要。

近期數據顯示，非法業者的大量資金外流凸顯了問題的嚴重性。根據日本作者、作曲家和出版商權益協會（JASRAC）統計，僅在2024年5月，由於主要英文盜版網站的非法活動，數位漫畫產業就可能面臨約8億美元的潛在損失。如此大規模的資金外流將抑制未來的投資興趣，並威脅到免費增值經營模式的永續性，而這種模式對於市場的永續發展至關重要。

市場趨勢

在成本最佳化和加快發布速度的需求驅動下，生成式人工智慧（AI）與內容創作和在地化的融合正在迅速改變製作流程。雖然工作室正在採用AI工具來自動化背景渲染和翻譯等任務，但這種轉變在公司的效率目標和藝術家對創新自主權的擔憂之間造成了差距。 2025年11月，《韓國時報》發表了一篇題為《網路漫畫產業在法律與倫理挑戰中尋求AI優勢》的報導，揭示了儘管63.8%的網路漫畫公司計劃使用AI技術，但只有18.3%的藝術家實際使用了這些工具，這預示著未來創作者將不得不適應混合工作流程。

伴隨技術變革，市場正向以創作者為中心的經濟模式轉型，這個模式優先考慮粉絲的直接支持而非單純的廣告收入。平台正在加強基礎設施建設，以促進微支付和社區支持，使專業創作者能夠擺脫傳統出版安全隔離網閘的束縛，並繼續創作。這種模式有助於吸引頂尖人才並製作高品質內容，Webtoon Entertainment Inc.於2025年11月發布的《2025年第三季財務業績報告》證實了這一點。報告指出，季度付費內容收入達到2.868億美元，凸顯了用戶直接支持創作者的經濟可行性。

目錄

第1章概述

第2章：調查方法

第3章執行摘要

第4章：客戶心聲

第5章：全球網路漫畫市場展望

  • 市場規模及預測
    • 按金額
  • 市佔率及預測
    • 按類型（動作、喜劇、恐怖、愛情、其他）
    • 主要讀者（兒童、成人）
    • 收入模式（訂閱制、廣告製）
    • 按地區
    • 按公司（2025 年）
  • 市場地圖

第6章：北美網路漫畫市場展望

  • 市場規模及預測
  • 市佔率及預測
  • 北美洲：國別分析
    • 美國
    • 加拿大
    • 墨西哥

第7章：歐洲網路漫畫市場展望

  • 市場規模及預測
  • 市佔率及預測
  • 歐洲：國別分析
    • 德國
    • 法國
    • 英國
    • 義大利
    • 西班牙

第8章：亞太地區網路漫畫市場展望

  • 市場規模及預測
  • 市佔率及預測
  • 亞太地區：國別分析
    • 中國
    • 印度
    • 日本
    • 韓國
    • 澳洲

第9章：中東與非洲網路漫畫市場展望

  • 市場規模及預測
  • 市佔率及預測
  • 中東與非洲：國別分析
    • 沙烏地阿拉伯
    • 阿拉伯聯合大公國
    • 南非

第10章：南美洲網路漫畫市場展望

  • 市場規模及預測
  • 市佔率及預測
  • 南美洲：國別分析
    • 巴西
    • 哥倫比亞
    • 阿根廷

第11章 市場動態

  • 促進因素
  • 任務

第12章 市場趨勢與發展

  • 併購
  • 產品發布
  • 近期趨勢

第13章：全球網路漫畫市場：SWOT分析

第14章：波特五力分析

  • 產業競爭
  • 新進入者的潛力
  • 供應商的議價能力
  • 顧客權力
  • 替代品的威脅

第15章 競爭格局

  • 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16章 策略建議

第17章：關於研究公司及免責聲明

簡介目錄
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