Since the early 2010s, a groundbreaking wave originating from South Korea has progressively redefined the contours of the global digital comic industry: the webtoon. This format, characterized by sequential storytelling optimized for vertical reading on smartphones through simple scrolling, has experienced exponential growth. The global market, driven by Korean giants like Naver (via its WEBTOON platform) and Kakao (via Piccoma and its multiple acquisitions), is now worth billions of dollars and shows annual growth rates of around 30%. These players dominate not only their domestic market but have also achieved rapid international expansion, particularly in Europe and France.
In the current digital landscape, Allskreen stands out as an innovative webtoon platform, captivating digital comic enthusiasts with its unique approach and varied content. Founded in 2016 by a trio of digital and publishing experts: Hervé Créac’h, Frédéric Detez de la Dreve, and Christophe Dezeure. From its inception, the company positioned itself in a forward-looking niche: the design and distribution of digital comics, as well as the creation of software tools for professionals (authors and publishing houses) wishing to make their digital transition.
France, a historic hub for comics and the second-largest manga market in the world, represents a strategic stake. The comic market there is substantial, exceeding 600 million euros annually, and webtoons have quickly gained ground, capturing millions of active monthly users on leading platforms. Faced with this cultural and economic “tsunami,” traditional Franco-Belgian publishers have attempted to react. Initiatives like Webtoon Factory (by Dupuis) and Verytoon (by Delcourt) have emerged, with the ambition to offer translations and original creations. However, these attempts have faced a dual challenge: direct competition with the financial power and extensive catalogs of Korean leaders, and the inadequacy of an “industrialized” production model, necessary to feed these platforms, with the more artisanal and author-centered ecosystem of European comics. The closure of the Verytoon platform in 2023 starkly illustrated these challenges.
Allskreen was founded with a clear vision: to revolutionize the way digital comics are consumed. Meanwhile, the Ankama group, a transmedia entertainment giant known for its video games, animated series, and its own publishing house, closely observed the rise of the webtoon phenomenon. Aware of the stakes represented by this new format, Ankama was “very interested in the expertise to transform a comic into a webtoon” that Allskreen possessed.
In 2020, Allskreen launched its first mobile application for iOS and Android, capitalizing on the enthusiasm for digital consumption during the COVID-19 pandemic lockdown.
Before its acquisition by Ankama, Allskreen had already collaborated with major publishing names, notably by developing the Verytoon platform for Delcourt Editions, launched in January 2021. This project highlighted Allskreen’s expertise in the webtoon format and the development of software adapted to the digital transition of comic publishers.
The acquisition of the company in 2022 by Ankama was a decisive step. For Allskreen, this acquisition marked a radical change in direction. The company shifted from a service provider and original creator model to that of an operational pillar of Ankama’s webtoon strategy, with the primary mission of “webtoonizing” the group’s vast catalog and that of its future partners. Rather than engaging in a lengthy, costly, and complex internal development process to master a new format and technology, the group chose to acquire an existing and proven structure. In doing so, Ankama not only purchased technology or software tools but also integrated a team of experts who had already demonstrated their competence by advising their own competitors. This operation allowed Ankama to significantly reduce its “time-to-market,” giving it the ability to launch a robust and credible offer much faster than if it had to start from scratch. In such a dynamic and competitive market, this speed advantage was crucial.
On March 1, 2023, Allskreen was officially launched as Ankama’s webtoon platform. Available on multiple devices—smartphones (iOS and Android), tablets, and computers via the Ankama Launcher and the web—it made a strong impact from day one. The platform offered a substantial launch catalog, with over 50 series and more than 1000 episodes available, signaling serious ambition and preparation.
In 2025, Ankama launched the merger of Ankama Studio and Allskreen, meaning that Allskreen will cease to exist as an independent entity and everything it owns, including its business, debts, and projects, will be absorbed by Ankama Studio. Since Ankama Studio already owns Allskreen, this operation is relatively straightforward and does not require an exchange of shares or major changes. The merger is set to begin retroactively from October 1, 2024, even if the official documents will be signed later. Once this merger is complete, Allskreen will no longer exist as an independent entity. It is also important to note that Allskreen has accumulated debts exceeding its assets, with a deficit of approximately 88,000 euros. However, since Ankama Studio and Allskreen are part of the same group, this debt does not pose a major problem. This merger is a strategy to better organize its activities, simplify structures, and improve overall efficiency.
Since January 2025, Allskreen has distinguished itself with an ambitious project: adapting iconic Franco-Belgian comics to the webtoon format, such as Daemon by Vincent Brugeas and Ronan Toulhoat (published by Le Lombard). This process involves transforming paper works into a vertical digital format, with about 60 panels per episode for 4 to 5 minutes of reading. Allskreen insists on not using artificial intelligence in these adaptations, highlighting human work supervised by authors and publishers. The application offers a vast library of over 2,000 episodes and 150 series. Alongside the enhancement of existing works, Allskreen has a strong ambition to become a hub for original European creation. The platform positions itself as active support for French and European authors, offering them a space to develop exclusive series.
This strategy of original creation was reinforced in March 2025 with the launch of the “Hybrid” label. This label is not defined by genres but by an editorial approach focused on authors and themes that carry meaning for contemporary readers. The goal is to highlight a new generation of talents with “hybrid” graphic styles, nourished by multiple influences (manga, comics, animation). These works explore a common theme: the quest for identity and the difficulty of “finding one’s place in a society that struggles to accept them.” Around this thematic core revolve subjects like ecology, doubts about the future, or the transition to adulthood.
In March 2025, Allskreen celebrated its second anniversary, and three months later, Allskreen unveiled a new look. Since June 9, Allskreen’s new visual identity, closer to its values and in line with the arrival of the catalog of new partners, previously very focused on Ankama productions.
As Hervé Créac’h, editorial manager of Allskreen, points out, “We are grateful to Éditions du Lombard for favoring an original reading experience of some of their titles, with Daemon, unpublished, then with immensely popular titles like Thorgal. Their trust is based on the quality of the webtoons we have produced in close collaboration with the publisher’s editorial teams. Ankama has always liked building bridges between universes and formats, and this step is significant for us.” This collaboration with renowned publishers like Le Lombard and Albin Michel shows Allskreen’s commitment to offering a unique and diverse reading experience.
Albin Michel with Camp Coyote, the whimsical adventures of an atypical summer camp, which Albin Michel launched on Allskreen on May 12, 2025. But that’s not all! Allskreen has also welcomed, since June 2, three other new titles oscillating between humor, fantasy, and science fiction: Manon Stremon, Œil de Dragon, and Monstres 13.
These partnerships operate on a principle of mutual legitimization and risk-sharing. For Allskreen and Ankama, associating with historic names like Le Lombard confers a classic credibility and prestige to their digital platform, while enriching it with high-profile content. For traditional publishers, this alliance offers a secure and technically mastered entry into the webtoon market, an area where their solo attempts have often been difficult. They benefit from Ankama’s digital expertise and engaged community, thus sharing the risks and costs of the digital transition. It is a symbiosis where the “old” bring heritage and catalog depth, and the “modern” bring digital expertise and the online community, creating a more robust hybrid offering to face international competition.
Furthermore, Allskreen does not merely offer existing content but also encourages original creation through contests and partnerships with art schools like Piktura. As Sébastien Herbaux of Piktura mentions, “Students follow a very comprehensive program. They learn to use specialized software, such as Photoshop, Illustrator, Clip Studio Paint, Krita, and many others. They are introduced to digital coloring, cutting, and image creation, focusing on acquiring essential technical skills.”
To carry out this mission, Ankama has set up an internal studio, benefiting from the skills already present within the group. This studio is led by experienced professionals, such as the colorist Sébastien Lamirand, who supervises the team. Hervé Créac’h emphasizes the “artisanal” and creative dimension of this work, which categorically refuses the use of automated adaptations by artificial intelligence. The approach involves graphic artists and narrators who make artistic choices, with digital tools only serving to facilitate their work.
Unlike some platforms like Naver Webtoon, which offer free access to many contents, Allskreen adopts an economic model based on the purchase of prepaid episode packs. This system allows users to unlock episodes at their own pace. Additionally, the first episode of each series is free to attract readers. This system is also integrated into the Pass Culture scheme, with an offer of 40 episodes for 14.99 €.
At the time of its launch, Allskreen deliberately chose not to offer a subscription model. Hervé Créac’h justified this decision by explaining that the catalog was not yet substantial enough to justify a monthly fee from users. This caution also stems from Ankama’s experience in the video game sector, which gave the group a clear vision of the potential “pitfalls” of subscription models, particularly the pressure they exert on content production. This system is relevant for a catalog under construction but could show its limits if the offer expands considerably. The question of introducing a subscription model or a hybrid offer could be reconsidered in the future.
This flexibility is a psychological advantage for the consumer, who is not tied by a recurring commitment, and a strategic advantage for Allskreen. It allows the platform to focus on quality and deliver “a beautiful product,” an approach more in line with the pace of European creation, which is less industrialized than the Korean model.
To celebrate its 20th anniversary, Ankama Éditions is launching its first open creation contest for everyone, until Friday, September 12, 2025, inclusive. Participants will have to create and then email five to 20 pages of comics or manga, or 50 webtoon panels, of a one-shot work inspired by Ankama’s 2025 theme: “Osamodas: Le Pacte Bestial.” The prize: publication in webtoon format exclusively on the Allskreen digital comic application, a sum of 1,000 euros, a unique trophy, and a visit to Ankama’s premises in Roubaix.
The “webtoonization” of well-known and beloved titles by the general public (Thorgal, Radiant, Dofus) acts as a bridge. It constitutes a low-friction entry point for traditional comic and manga readers, inviting them to discover the webtoon format through universes already familiar to them. Once this audience is attracted and familiarized with the platform, original creations and the “Hybrid” label act as the destination. Allskreen then offers native, exclusive, and innovative content, unavailable elsewhere, which forges its own identity and builds long-term reader loyalty. This two-step approach allows both leveraging existing assets to acquire a solid user base and building a unique value proposition to ensure its longevity.
Conclusion: The long-term success of Allskreen will depend on its ability to transform its “counter-current model” into a true “destination ecosystem” for European creation. Currently, its strategy is cleverly defensive and opportunistic: it differentiates itself to avoid direct confrontation and relies on its existing assets. To reach a new milestone, it must become an essential destination, not just an interesting alternative. This involves generating its own critical and commercial successes through the “Hybrid” label, works that will define a “European touch” of the webtoon that competitors cannot replicate. It also involves building a community of loyal creators by offering them attractive working conditions and remuneration, a major point of friction on competing platforms where contractual conditions are often criticized. If Allskreen becomes the place where European talents want to be published and where readers come to find stories they won’t find anywhere else, it will have succeeded in transforming its niche into a lasting fortress.
Sources: Official website, press release, LinkedIn posts, and interviews on Otaku Manga and Comixtrip