By: H.G. Wells
February 27, 2022

1904 illustration of “The Land Ironclads.”

HiLoBooks is pleased to serialize H.G. Wells’s “The Land Ironclads” for HILOBROW’s readers. Published in The Strand in 1903, this proto-sf tale contributed to Wells’s reputation as a “prophet of the future” when tanks first appeared in 1916.

ALL INSTALLMENTS: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10.



The defender had relied chiefly upon his rifles in the event of an assault. His guns he kept concealed at various points upon and behind the ridge ready to bring them into action against any artillery preparations for an attack on the part of his antagonist. The situation had rushed upon him with the dawn, and by the time the gunners had their guns ready for motion, the land ironclads were already in among the foremost trenches. There is a natural reluctance to fire into one’s own broken men, and many of the guns, being intended simply to fight an advance of the enemy’s artillery, were not in positions to hit anything in the second line of trenches. After that the advance of the land ironclads was swift. The defender-general found himself suddenly called upon to invent a new sort of warfare, in which guns were to fight alone amidst broken and retreating infantry. He had scarcely thirty minutes in which to think it out. He did not respond to the call, and what happened that morning was that the advance of the land ironclads forced the fight, and each gun and battery made what play its circumstances dictated. For the most part it was poor play.

Some of the guns got in two or three shots, some one or two, and the percentage of misses was unusually high. The howitzers, of course, did nothing. The land ironclads in each case followed much the same tactics. As soon as a gun came into play the monster turned itself almost end on, so as to minimize the chances of a square hit, and made not for the gun, but for the nearest point on its flank from which the gunners could be shot down. Few of the hits scored were very effectual; only one of the things was disabled, and that was the one that fought the three batteries attached to the brigade on the left wing. Three that were hit when close upon the guns were clean shot through without being put out of action. Our war correspondent did not see that one momentary arrest of the tide of victory on the left; he saw only the very ineffectual fight of half-battery 96B close at hand upon his right. This he watched some time beyond the margin of safety.

Just after he heard the three batteries opening up upon his left he became aware of the thud of horses’ hoofs from the sheltered side of the slope, and presently saw first one and then two other guns galloping into position along the north side of the ridge, well out of sight of the great bulk that was now creeping obliquely towards the crest and cutting up the lingering infantry beside it and below, as it came.

The half-battery swung round into line — each gun describing its curve — halted, unlimbered, and prepared for action….


The land ironclad had become visible over the brow of the hill, and just visible as a long black back to the gunners. It halted, as though it hesitated.

The two remaining guns fired, and then their big antagonist had swung round and was in full view, end on, against the sky, coming at a rush.

The gunners became frantic in their haste to fire again. They were so near the war correspondent could see the expressions on their excited faces through his field-glass. As he looked he saw a man drop, and realized for the first time that the ironclad was shooting.

For a moment the big black monster crawled with an accelerated pace towards the furiously active gunners. Then, as if moved by a generous impulse, it turned its full broadside to their attack, and scarcely forty yards away from them. The war correspondent turned his field-glass back to the gunners and perceived it was now shooting down the men about the guns with the most deadly rapidity.

Just for a moment it seemed splendid and then it seemed horrible. The gunners were dropping in heaps about their guns. To lay a hand on a gun was death. “Bang!” went the gun on the left, a hopeless miss, and that was the only second shot the half-battery fired. In another moment half-a-dozen surviving artillerymen were holding up their hands amidst a scattered muddle of dead and wounded men, and the fight was done.

The war correspondent hesitated between stopping in his scrub and waiting for an opportunity to surrender decently, or taking to an adjacent gully he had discovered. If he surrendered it was certain he would get no copy off; while, if he escaped, there were all sorts of chances. He decided to follow the gully, and take the first offer in the confusion beyond the camp of picking up a horse.


RADIUM AGE PROTO-SF: “Radium Age” is Josh Glenn’s name for the nascent sf genre’s c. 1900–1935 era, a period which saw the discovery of radioactivity, i.e., the revelation that matter itself is constantly in movement — a fitting metaphor for the first decades of the 20th century, during which old scientific, religious, political, and social certainties were shattered. More info here.

SERIALIZED BY HILOBOOKS: Jack London’s The Scarlet Plague | Rudyard Kipling’s With the Night Mail (and “As Easy as A.B.C.”) | Arthur Conan Doyle’s The Poison Belt | H. Rider Haggard’s When the World Shook | Edward Shanks’ The People of the Ruins | William Hope Hodgson’s The Night Land | J.D. Beresford’s Goslings | E.V. Odle’s The Clockwork Man | Cicely Hamilton’s Theodore Savage | Muriel Jaeger’s The Man With Six Senses | Jack London’s “The Red One” | Philip Francis Nowlan’s Armageddon 2419 A.D. | Homer Eon Flint’s The Devolutionist | W.E.B. DuBois’s “The Comet” | Edgar Rice Burroughs’s The Moon Men | Charlotte Perkins Gilman’s Herland | Sax Rohmer’s “The Zayat Kiss” | Eimar O’Duffy’s King Goshawk and the Birds | Frances Hodgson Burnett’s The Lost Prince | Morley Roberts’s The Fugitives | Helen MacInnes’s The Unconquerable | Geoffrey Household’s Watcher in the Shadows | William Haggard’s The High Wire | Hammond Innes’s Air Bridge | James Branch Cabell’s Jurgen | John Buchan’s “No Man’s Land” | John Russell’s “The Fourth Man” | E.M. Forster’s “The Machine Stops” | John Buchan’s Huntingtower | Arthur Conan Doyle’s When the World Screamed | Victor Bridges’ A Rogue By Compulsion | Jack London’s The Iron Heel | H. De Vere Stacpoole’s The Man Who Lost Himself | P.G. Wodehouse’s Leave It to Psmith | Richard Connell’s “The Most Dangerous Game” | Houdini and Lovecraft’s “Imprisoned with the Pharaohs” | Arthur Conan Doyle’s “The Sussex Vampire” | Francis Stevens’s “Friend Island” | George C. Wallis’s “The Last Days of Earth” | Frank L. Pollock’s “Finis” | A. Merritt’s The Moon Pool | E. Nesbit’s “The Third Drug” | George Allan England’s “The Thing from — ‘Outside'” | Booth Tarkington’s “The Veiled Feminists of Atlantis” | H.G. Wells’s “The Land Ironclads” | J.D. Beresford’s The Hampdenshire Wonder | Valery Bryusov’s “The Republic of the Southern Cross” | Algernon Blackwood’s “A Victim of Higher Space” | A. Merritt’s “The People of the Pit”.