Format: Digital graphic novel with infinite scrolling.
Huynh, M. (2015). The boat. SBS.
The Boat is a powerful, multi-award-winning digital graphic novel based on the short story of the same name by Nam Le (2008). It combines literary depth with a gut-wrenching portrayal of the plight of boat refugees.
Literary Merit
Arguably, the most important criteria in evaluating digital storytelling is literary merit, which must be present, regardless of how stunning the multimodal elements are (Dobler, 2013; Yokota & Teale, 2014). The Boat exemplifies this. Told from the perspective of Mai, a 16-year-old Vietnamese girl, it portrays the harrowing journey of refugees at sea. Matt Huynh’s calligraphy-ink illustrations and panic-filled dialogue capture fear and desperation, reflecting the literary depth of Le’s original short story, which won a stream of literary accolades. The text demonstrates that high quality digital literature relies on a strong story, enhanced, rather than overshadowed, by digital affordances (Dobler, 2013; Yokota & Teale, 2014).
Multimodal Integration
Despite being a decade old, The Boat demonstrates sophisticated and sleek multimodal design. The infinite scrolling interface moves the reader through 222 static sketches that sway and rock like the waves, deliberately unsettling the reader. Such animation deepens empathy by forcing readers to experience the instability and treachery of the characters’ journey (Sutherland et al., 2021).
Other digital affordances, such as sound effects –– including crashing waves, groaning metal, and a mother’s song for her dying son –– wrap the reader in an emotionally intense and complete sensory experience.
This is multimodal intergration with precision, reinforcing the meaning and themes of the story, and deepening the reader’s understanding (Lamb, 2011; Serafini, 2010; Yokota & Teale, 2014) of what the refugees experienced on this perilous trip from Vietnam.
Interactivity With Purpose
The interactivity in The Boat is largely the downward infinite scrolling, giving the reader full control over the pace of the story. The reader can pause and the story waits. They can also retreat back upwards, if needed, which helps promote reader comprehension.
Quality digital literature requires interactivity that enhances the narrative, rather than distracts from it (Dobler, 2013; McGeehan, et al, 2018; Unsworth, 2006). The Boat demonstrates this principle by ensuring the reader has autonomy on the flow of the story, which is particularly helpful in a text of such intense emotional content.
The story also includes three ‘side stories’, that take the reader –– if they opt in with a click –– to a short tangent of the comic, including black and white photographs. The reader is soon guided to click, whenever ready, to head back onto the main story path.
Accessibility and Limitations
Despite its strengths, The Boat does have accessibility challenges. While the sensory experience is what is to be praised about its production, it may also make it inaccessible for some readers. The Boat’s sensory overload, while masterful for its purpose, may overwhelm readers and reduce comprehension (Cope & Kalantzis, 2015; Jabr, 2013; Lamb, 2011). Tilting panels –– sometimes at forty-five-degree angles –– create disorientation that can be difficult even for proficient readers. Accessibility could be improved with alternative captions or a voice-over option.
As with all digital texts, equity must be closely considered. Barriers such as limited internet, device access, or poor digital literacy can compound the digital divide (Thomas, et al., 2023; Marsden et al., 2024; Selwyn, 2017). However, The Boat is free to access via SBS.com.au, which helps reduce inequities, particularly when compared to digital literature on subscription platforms or paid apps.
Educational and Cultural Value
The Boat includes traumatic scenes of violence, death, and infrequent course language, which make it unsuitable for younger readers. However, for students in upper secondary school, it has significant educational value. Its themes align with the Australian Curriculum cross-curriculum priority of Asia and Australia’s engagement with Asia (Australian Curriculum, Assessment and Reporting Authority [ACARA], n.d.a), and with the general capabilities of Intercultural and Ethical Understanding (ACARA, n.d.b). Teachers must show caution and support students with contextual knowledge and prepare for emotional triggers.
The multimodal design of The Boat deepens comprehension through fully engaging the reader, promoting a greater connection with the characters and their situation (Barone, 2010; Bland, 2018; Fenty & Brydon, 2019; Gavigan, 2021). This enables the reader to step into the perspective of others, strengthening empathy (Boerman-Connell, 2015; Garrison & Gavigan, 2019; Kim & Jiménez, 2023). For example, by following Mai on her distressing journey, the reader sees through her eyes, feels the waves, and hears the cries of the mourning mother in front of her. The reader cannot avoid Mai’s discomfort as they experience it along with her. Therefore, using a text with this level of immersion is particularly powerful when unpacking complex issues, such as refugees, making it a highly valuable literary learning tool.
Conclusion
The Boat is an exemplar of digital literature, demonstrating how digital affordances and quality literature converge to create a culturally vital and emotionally charged story. It exemplifies purposeful multimodality that deepens meaning rather than distracts.
Experience The Boat: https://www.sbs.com.au/theboat
References
Australian Curriculum, Assessment and Reporting Authority. (n.d.a). Australian curriculum: Cross-curriculum priorities. (Version 9), Asia and Australia’s engagement with Asia.
Australian Curriculum, Assessment and Reporting Authority. (n.d.b). Australian curriculum: General capabilities. (Version 9), Intercultural understanding.
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