Analyze the methods used by the writer of this text to convey a message.

The given text is a satirical cartoon by Gary Varvel. Through this satirical cartoon, Gary is
commenting on how the new generations’ definition of “playing” has changed. This generation
would much rather sit down and stare at their screen the whole day rather than play in the park
with others. This cartoon makes a statement about addiction to our devices and the heavy
reliance on social media rather than communicating with each other. This cartoon focuses
heavily on children since that is all that Gary has drawn. Therefore, they become subject to
heavy criticism by everyone. This could be seen as the bias that the older generation now has
against the younger one. Due to this, one can also infer that the primary audience for this text
are those parents who have children and feel that they are addicted to devices.

Irony is heavily employed in the text. The signpost that states “Caution. Children Playing”
creates irony as the sign says one thing yet the scene shows something else. In the background,
the basketball court, swings and see saw are empty and no one is seen playing on them. In the
foreground, also the focus of this cartoon, are five children all glued to their devices. Through
this ironical juxtaposition, it can be seen that the term “playing” means different things to the
older and the newer generations. To the older generation, playing is kicking a ball around,
having fun with their friends or even just running. However, to the newer generation, playing is
sitting and staring on their screens the whole day which is much different to the older
generation. The irony of the signpost is, in fact, double-edged. The two young kids on the right
side of the cartoon are depicted as though they are about to collide by walking into one
another and. The author is making a point about how screens may hypnotize youngsters to the
point where they don't see what's going on around them, which is potentially more harmful
than if they were enjoying on the swings in the background. Therefore, while the warning is
supposed to be addressed at oncoming automobiles, strangely it is the youngsters themselves
who must exhibit greater 'caution'.

The utilization of caricature in the artwork of the children complements the irony of the

signpost. All of the youngsters, whether standing or sitting, have their heads dropped and
one finger outstretched, gesturing to their devices. Their eyeballs are equally downcast, and the
observer cannot see beyond their drooping eyelids, as if they are sleeping. Varvel is indicating
once more that electrical devices may cast a tremendous, mesmerizing charm on today's youth.
The children's features are either devoid of emotion or blatantly melancholy, and their mouths
are depicted curling downwards, as though they are bored with their chosen hobby. There is no
communication amongst them even though they are seen sitting or standing closely together.
Each child's attention is riveted firmly on the displays he or she is clutching. Varvel's cartoonish
illustrations show that electronic displays, and by extension, ‘social' media, have the opposite
result of alienating youngsters in their own tiny universes and robbing them of vital, face-to-
face connections with other children of their age.

Varvel emphasizes these statements with additional graphical aspects such as structure and
contrast. The cartoon is divided into two parts: the background and the foreground. A desolate
playground, an unoccupied basketball court, and a defunct seesaw can be seen in the backdrop.
The total absence of individuals stands in stark contrast with the forefront, where five small
children sit holding their phones. Negative space is cleverly utilized here to reflect the
independence that the youngsters willingly give up. Much of the backdrop is vacant, including
the lawn and atmosphere. Varvel is implying that, offered so much open space, today's
youngsters would prefer to restrict themselves to little screens. The pavement lines, which
visually mirror the small box designs of the devices, also evoke this 'trapping' effect.

The field is vibrant green in the background, emphasizing the joy and excitement that the
youngsters are choosing out of by being seated on the bench. In opposition, the foreground is
drab and grayish, implying the dreariness of the online realm. The yellow signage stands out,
ostensibly to caution approaching automobiles, but also to call the viewer's interest to the
absurdity and hilarity of the worthless signpost. The children’s red and blue caps are symbolic
as well. Children's apparel comes in a broad range of colors, including blue, red, pink, and
yellow. Their hair is styled and colored differently. This choice of color may be seen as a
subliminal hint that whatever these youngsters are, whatever their histories and beliefs, they
are all subject to the temptation of the electronic display, which is destroying their uniqueness
and individuality.

Finally, Varvel's amusing cartoon raises an important point about young children's screen
obsession, and he evidently believes that youths are easy pickings for the enchantment of
tablets and social media. The text is biased in this aspect since it generalizes all kids to have this
unhealthy behavior. The use of adults in this cartoon may have helped to balance out the
criticism since this is a problem for them as much as for their children. The author's underlying
point is that technology is destroying the next generation. Kids are meant to be brimming with
enthusiasm and spend their spare time outside, but unfortunately, our era has grown less
energetic and 'manipulated'. Since they are so engrossed and pulled to their smartphones,
these youngsters will never encounter the delights of riding bicycles or playing basketball in the
park. The only thing that youngsters nowadays will remember about their childhood is the time
they spent plastered to their phone screens.