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 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 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...