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This article deals with the publication and reading of digitized comic books through the interface of the Izneo platform. Olivier Stucky questions the functioning and ambitions of such online platforms that offer the public an experience of reading an album, originally printed, on a plurality of screen formats (computer, smartphone, touch tablet, etc.). By proceeding to a historical contextualization of the emergence of this platform and then by proposing the description and the analysis of the various forms of display allowing to visualize the contents of a digitized album on various screens, the author intends to replace the material implications of the supports at the center of the reflection on the digital forms of comics.

This paper intends to study the adaptation of printed albums for the CD-ROM support in France during the 1990s. As an evidence of the first incursions of printed comics into digital publishing and composed of less than ten titles, the corpus studied nevertheless reveals a new situation in the editorial context in which it appeared. By situating these objects at the crossroads of upheavals in the editorial landscape of comics and books in general, at a time when entertainment computing is being democratized, this study aims to show how these marginal publications testify to and announce a disruption of the media identity of comic, at the crossroads of the symbolic influence of the album and the formal issues involved in publishing on an innovative support.