Indian children are absent from all movies but White Fawn's Devotion, where a mixed-race child plays a significant role, and The Vanishing American, where the main character Nophaie has a substantial relationship with Nasja, a boy of about eight. Furthermore, one of the other main characters is a white school teacher on the reservation, which provides many impression of Indian kids passing time playing familiar games and spending time on a modern playground, as seen on the picture on the left. Indian kids in modern clothing playing the same games as white contemporary kids are a stark juxtaposition to the stereotype of the stoic, grim, and brutal warrior. The Vanishing American is also extraordinary in the way that it opposes this grim image by offering images of Nophaie joking around and conversing with Nasja. Especially the joking, which is also present in The Squaw's Love, provides a different image than later movies that rely on the never laughing stoic Indian. White Eagle and Gray Fox, who seem to be perpetually grinning and joking around, are a welcome variation. This category of Indian women, kids, and laughing Indians is what supports the claim that Indian pictures of the silent era differed from later images the most. Sadly the time on screen is accounts for only roughly twenty-three percent of Indian on-screen time. Nevertheless, as can be seen from the chart on the left, this puts the Indian women, kids, and joke-makers visibly ahead of the villain, with 10.8 percent of the combined screen time of all six movies.