The most common aspects of the portrayals of Native Americans in media set during the American Revolutionary War are violence perpetrated by American Indians, their involvement in battle scenes, and that almost all of these portrayals happen outdoors rather than inside a structure. The highlighting of these outdoor portrayals may seem like a weak point of contention at first glance. One must remember that some Native nations built structures so advanced that Continental Army troops sent to burn out Iroquois villages during the Sullivan Expedition were amazed at their quality, and these soldiers believed that the Iroquois were living in better conditions than they were.8 To portray American Indians as only existing outside of buildings is to portray them as a “savage” people, outside of civilization, lacking civilization; the implication is that these “uncivilized” people only live outdoors.
There are a few exceptions to the outdoor portrayal trait, but none of them present a majority of a Native American’s portrayal indoors. One is D. W. Griffith’s America in 1924, which has extended indoor scenes with Kanienʼkehá꞉ka warriors and their British-educated leader, Joseph Brant (Riley Hatch), accompanying a British officer and waiting on his orders. Fox’s 1939 Drums Along the Mohawk has a couple short scenes with Blue Back (Chief John Big Tree), a “Good Indian” stereotype character, inside the home of the protagonists. Similarly, in four seasons of episodes, Turn: Washington’s Spies has some short scenes with a minor American Indian character accompanying a more central character on their indoor business. Television children’s series Liberty’s Kids and feature film Sign of the Otter both have a small amount of content where American Indians are portrayed inside their own homes. ACIII also has short scenes in which the main character Ratonhnhaké:ton (voiced by Noah Watts) is seen or controlled by the player inside structures, but the rule is the depictions outside.
The outdoor portrayal theme ties into related themes of violence and battles. Most of these characters are portrayed as stereotypically savage or bloodthirsty, and the most logical place for expressions of this violence during the American Revolution is in the outdoors. Out of the eight works with visual representations of American Indians, only one does not depict Native Americans inflicting violence upon other people. Liberty’s Kids uses two of its forty episodes to explore Native American issues related to the founding of the United States. Episode 31, “The Bostonians,” set during the Sullivan Expedition, gives Joseph Brant, birth name Thayendanegea (voiced by Russell Charles Means) a platform to voice his grievances and concerns about the actions taken by the United States, and while he is portrayed as a powerful, stern character, neither he nor any other American Indian perform any violence in this episode.
Scenes from episode 31, “The Bostonians,” in the television show “Liberty’s Kids” (2002-2003). Thayendanegea, Joseph Brant (Russell Charles Means), shares his perspective on the experiences of the Kanienʼkehá꞉ka in the American Revolution.
Episode 27 follows the historically documented story of Cornstalk, Hokoleskwa, (also voiced by Russell Charles Means), who conducted diplomacy with the fledgling United States. He attempted to keep his nation, the Shawnee, neutral in the Revolutionary War.9 Cornstalk, his son, and two other Shawnee were arrested only due to the fort commander’s decision to imprison any Shawnee he could find, not for any specific crime. After a European American militiaman was killed nearby, a vigilante mob of soldiers at the fort murdered the imprisoned Cornstalk, his son, and the other two Shawnee. This episode portrays Cornstalk’s diplomatic efforts, capture, and hints at the approaching murders, and correctly portrays no violence on the part of Cornstalk or his son in this scenario.
Scenes from episode 27, “The New Frontier,” in the television show “Liberty’s Kids” (2002-2003). Hokoleskwa, Cornstalk (Russell Charles Means), attempts to be honorable and respectful to a US military commander who orders him captured. Hokoleskwa is then murdered by militiamen seeking vengeance for an unrelated killing of a colonist.
However, Liberty’s Kids was produced and released in the wake of the 9/11 attacks on the United States. This proximity to such a significant historical event will necessarily color the content. Despite the respectful treatment of the stories of Cornstalk and Joseph Brant, both episodes are wrapped up in language that promotes national unity and patriotism rather than any kind of mournfulness for the tragedies inflicted upon Native Americans. In the Joseph Brant episode, the final words spoken are “great necessities call out great virtues. All will be well.” The conclusion of the Cornstalk episode claims that “all of us… will be living together in freedom in our new nation.” When viewed from the Native American perspective, the objective truthfulness of those words is seriously in doubt.
Despite the nationalism inherent in Liberty’s Kids, it is unique among this body of media in that every other work that portrays American Indians, whether in television, movies, or video games set during the American Revolution, depicts Native Americans committing violence on European Americans.
8. Graymont, 10, 216.
9. Raphael, 268-71.