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The Dominion of the World (1900) represents a transition from
classic Vernian anticipation to the pulp serials of the 1920s and
1930s. It is also the only science fiction work that sought to
dramatize the "Transatlantic Peril," positing a fundamental
difference of culture and attitude between the United States and
Europe. Despite some of its outlandishness, hindsight has lent the
world imagined by Gustave Guitton and Gustave Le Rouge (The
Vampires of Mars) a certain prophetic quality. In Volume 1, a
secret cabal of American billionaires, led by William Boltyn, would
like nothing more than to crush Europe, or at least subject it to
harsh economic domination, and eventually become masters of the
world. To that end, they scheme to use a deadly array of highly
advanced weapons invented by Engineer Hattison and an army of
psychics under the command of the sinister Harry Madge. Their grand
plan, however, is opposed by the heroic endeavors of a handful of
Frenchmen...
The Dominion of the World (1900) represents a transition from
classic Vernian anticipation to the pulp serials of the 1920s and
1930s. It is also the only science fiction work that sought to
dramatize the "Transatlantic Peril," positing a fundamental
difference of culture and attitude between the United States and
Europe. Despite some of its outlandishness, hindsight has lent the
world imagined by Gustave Guitton and Gustave Le Rouge (The
Vampires of Mars) a certain prophetic quality. In the second volume
of the series, as France seemed headed for war with England over
colonial disputes in Africa, the secret cabal of American
billionaires, led by William Boltyn, schemes to stop French
scientist Arsene Golbert from completing his plans for a
subatlantic railway. Meanwhile, in his secret citadel of science
hidden in the Rocky Mountains, mad engineer Hattison has created an
invincible army of "iron men," robots that will ensure the
billionaires' victory...
The Dominion of the World (1900) represents a transition from
classic Vernian anticipation to the pulp serials of the 1920s and
1930s. It is also the only science fiction work that sought to
dramatize the "Transatlantic Peril," positing a fundamental
difference of culture and attitude between the United States and
Europe. Despite some of its outlandishness, hindsight has lent the
world imagined by Gustave Guitton and Gustave Le Rouge (The
Vampires of Mars) a certain prophetic quality. In the fourth and
final volume of the series, Harry Madge's brigade of psychic spies
sent to infiltrate Europe on behalf of the secret cabal of American
billionaires, led by William Boltyn, is sowing chaos and despair,
but the invention of a new "psychic accumulator" by Arsene Golbert
enables good will to triumph, banishing hatred, ambition, cupidity
and egotism, and opening the doors to a new utopian society...
The Dominion of the World (1900) represents a transition from
classic Vernian anticipation to the pulp serials of the 1920s and
1930s. It is also the only science fiction work that sought to
dramatize the "Transatlantic Peril," positing a fundamental
difference of culture and attitude between the United States and
Europe. Despite some of its outlandishness, hindsight has lent the
world imagined by Gustave Guitton and Gustave Le Rouge (The
Vampires of Mars) a certain prophetic quality. In the third volume
of the series, after the destruction of engineer Hattison's secret
citadel, the secret cabal of American billionaires, led by William
Boltyn, hires the sinister Harry Madge, who plans to attack Europe
with the aid of a brigade of hypnotists and psychic spies. Only
French scientist Olivier Coronal, the inventor of the terrestrial
torpedo, stands in the way of the final success of the
Billionaires' Conspiracy...
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