The Nome King

Description:

From Ozma of Oz (1907):

In the center of this room was a throne carved out of a solid boulder of rock, rude and rugged in shape but glittering with great rubies and diamonds and emeralds on every part of its surface. And upon the throne sat the Nome King.

This important monarch of the Underground World was a little fat man clothed in gray-brown garments that were the exact color of the rock throne in which he was seated. His bushy hair and flowing beard were also colored like the rocks, and so was his face. He wore no crown of any sort, and his only ornament was a broad, jewel-studded belt that encircled his fat little body. As for his features, they seemed kindly and good humored, and his eyes were turned merrily upon his visitors as Ozma and Dorothy stood before him with their followers ranged in close order behind them.

“Why, he looks just like Santa Claus–only he isn’t the same color!” whispered Dorothy to her friend; but the Nome King heard the speech, and it made him laugh aloud.

“Sit down, my dears,” said the King, “and tell me why you have come all this way to see me, and what I can do to make you happy.”

. . .

“You are as brave as you are pretty, my dear,” he said to Ozma. “But you have little idea of the extent of the task you have undertaken. Come with me for a moment.”

He arose and took Ozma’s hand, leading her to a little door at one side of the room. This he opened and they stepped out upon a balcony, from whence they obtained a wonderful view of the Underground World.

A vast cave extended for miles and miles under the mountain, and in every direction were furnaces and forges glowing brightly and Nomes hammering upon precious metals or polishing gleaming jewels. All around the walls of the cave were thousands of doors of silver and gold, built into the solid rock, and these extended in rows far away into the distance, as far as Ozma’s eyes could follow them.

While the little maid from Oz gazed wonderingly upon this scene the Nome King uttered a shrill whistle, and at once all the silver and gold doors flew open and solid ranks of Nome soldiers marched out from every one. So great were their numbers that they quickly filled the immense underground cavern and forced the busy workmen to abandon their tasks.

Although this tremendous army consisted of rock-colored Nomes, all squat and fat, they were clothed in glittering armor of polished steel, inlaid with beautiful gems. Upon his brow each wore a brilliant electric light, and they bore sharp spears and swords and battle-axes of solid bronze. It was evident they were perfectly trained, for they stood in straight rows, rank after rank, with their weapons held erect and true, as if awaiting but the word of command to level them upon their foes.

“This,” said the Nome King, “is but a small part of my army. No ruler upon Earth has ever dared to fight me, and no ruler ever will, for I am too powerful to oppose.”

The Nome King is a recurring antagonist in the Oz stories. Though he initially seems harmless, he quickly reveals himself to be selfish, childish, and extremely vindictive. Though Dorothy and the Wizard eventually ousted him from control of the Nome Kingdom, he still waits and plots revenge upon Ozma and the Oz people.

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Images (spoilers – click only if you want to see):

How John R. Neill drew the Nome King:  1  2  3

How Dick Martin drew the Nome King:  1

How Skottie Young drew the Nome King:  1  2

 

Quox the Dragon

Description:

From Tik-Tok of Oz (1914):

Betsy had thought a “young” dragon must be a small dragon, yet here was one so enormous that the girl decided he must be full grown, if not overgrown. His body was a lovely sky-blue in color and it was thickly set with glittering silver scales, each one as big as a serving-tray. Around his neck was a pink ribbon with a bow just under his left ear, and below the ribbon appeared a chain of pearls to which was attached a golden locket about as large around as the end of a bass drum. This locket was set with many large and beautiful jewels.

The head and face of Quox were not especially ugly, when you consider that he was a dragon; but his eyes were so large that it took him a long time to wink and his teeth seemed very sharp and terrible when they showed, which they did whenever the beast smiled. Also his nostrils were quite large and wide, and those who stood near him were liable to smell brimstone—especially when he breathed out fire, as it is the nature of dragons to do. To the end of his long tail was attached a big electric light.

Perhaps the most singular thing about the dragon’s appearance at this time was the fact that he had a row of seats attached to his back, one seat for each member of the party. These seats were double, with curved backs, so that two could sit in them, and there were twelve of these double seats, all strapped firmly around the dragon’s thick body and placed one behind the other, in a row that extended from his shoulders nearly to his tail.

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Images (spoilers – click only if you want to see):

How John R. Neill drew Quox:  1  2  3

 

Kabumpo, the Elegant Elephant

Description:

From Kabumpo in Oz (1921):

Few royal families could boast of so royal and elegant an elephant! He was huge and gray. On his head he wore jeweled bands and a jeweled court robe billowed out majestically as he walked. His little eyes twinkled merrily and his big ears flapped so sociably, that just to look at him put one in a good humor. Kabumpo was the only elephant in Pumperdink, or in any Kingdom near Pumperdink, so no wonder he was a prime favorite at Court. He had been given to the King at Pompa’s christening by a friendly stranger and since then had enjoyed every luxury and advantage. He was not only treated as a member of the royal family, but was always addressed as Sir by all of the palace servants.

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Images (spoilers – click only if you want to see):

How John R. Neill drew Kabumpo:  1  2  3  4

How Dick Martin drew Kabumpo:  1  2

 

The Shaggy Man

Description:

From The Patchwork Girl of Oz (1914):

He was a big man, with shaggy whiskers, shaggy eyebrows,121 shaggy hair—but kindly blue eyes that were gentle as those of a cow. On his head was a green velvet hat with a jeweled band, which was all shaggy around the brim. Rich but shaggy laces were at his throat; a coat with shaggy edges was decorated with diamond buttons; the velvet breeches had jeweled buckles at the knees and shags all around the bottoms. On his breast hung a medallion bearing a picture of Princess Dorothy of Oz, and in his hand, as he stood looking at Ojo, was a sharp knife shaped like a dagger.

“Oh!” exclaimed Ojo, greatly astonished at the sight of this stranger; and then he added: “Who has saved me, sir?”

“Can’t you see?” replied the other, with a smile; “I’m the Shaggy Man.”

The Shaggy Man is barely described in Baum’s Oz books. He is a good-hearted vagrant who followed Dorothy from Kansas to Oz, and even when well-dressed, his clothes and general appearance are always “shaggy” (what we might call “ragged” or “unkempt”). He often carries the Love Magnet, a magical magnet that forces everyone to immediately adore whomever holds it.

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Images (spoilers – click only if you want to see):

How John R. Neill drew the Shaggy Man:  1  2

How Frank Kramer drew the Shaggy Man:  1

How Skottie Young drew the Shaggy Man:  1  2

 

Polychrome, the Rainbow’s Daughter

Description:

From The Road to Oz (1909):

A little girl, radiant and beautiful, shapely as a fairy and exquisitely dressed, was dancing gracefully in the middle of the lonely road, whirling slowly this way and that, her dainty feet twinkling in sprightly fashion. She was clad in flowing, fluffy robes of soft material that reminded Dorothy of woven cobwebs, only it was colored in soft tintings of violet, rose, topaz, olive, azure, and white, mingled together most harmoniously in stripes which melted one into the other with soft blendings. Her hair was like spun gold and flowed around her in a cloud, no strand being fastened or confined by either pin or ornament or ribbon.

Filled with wonder and admiration our friends approached and stood watching this fascinating dance. The girl was no taller than Dorothy, although more slender; nor did she seem any older than our little heroine.

Suddenly she paused and abandoned the dance, as if for the first time observing the presence of strangers. As she faced them, shy as a frightened fawn, poised upon one foot as if to fly the next instant, Dorothy was astonished to see tears flowing from her violet eyes and trickling down her lovely rose-hued cheeks. That the dainty maiden should dance and weep at the same time was indeed surprising; so Dorothy asked in a soft, sympathetic voice:

“Are you unhappy, little girl?”

“Very!” was the reply; “I am lost.”

“Why, so are we,” said Dorothy, smiling; “but we don’t cry about it.”

“Don’t you? Why not?”

“‘Cause I’ve been lost before, and always got found again,” answered Dorothy simply.

“But I’ve never been lost before,” murmured the dainty maiden, “and I’m worried and afraid.”

“You were dancing,” remarked Dorothy, in a puzzled tone of voice.

“Oh, that was just to keep warm,” explained the maiden, quickly. “It was not because I felt happy, I assure you.”

Polychrome is just one of the many daughters of the rainbow – the literal rainbow – and she often dances off her father’s bow and into Oz. After several such adventures she’s used to it – and she seems to have grown up a little – but she always ends up wanting to go home to join her sisters in the sky.

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Images (spoilers – click only if you want to see):

How John R. Neill drew Polychrome:  1  2  3  4  5

How Skottie Young drew Polychrome: 1  2