Sherlock Holmes, Martian Invaders, and the Perils of Literary Crossbreeding: A Review of Sherlock Holmes and the War of the Worlds
Few fictional figures in the Anglo-American literary canon have achieved the mythic omnipresence of Sherlock Holmes. That singular mind, operating at the precise juncture between Victorian rationalism and the birth of forensic science, has proven as indestructible as it is adaptable.
But there is a danger—one that literary pasticheurs either fail to acknowledge or enthusiastically embrace—in forcing Holmes into cross-genre acrobatics. He has fought Jack the Ripper, Dracula, Cthulhu, Nazi spies, and even time-traveling assassins. That he should eventually confront H.G. Wells’ Martians was, perhaps, an inevitability.
And so, we come to Sherlock Holmes and the War of the Worlds, a novel by Manly W. Wellman and Wade Wellman, which attempts the impossible synthesis of two literary worlds that should, by all logic, remain separate. It is an ambitious, often fascinating, sometimes absurd, and ultimately charmingly doomed effort to merge Doyle’s detective fiction with Wells’ apocalyptic science fiction.
Holmes, one of literature’s most unshakable empiricists, is asked to make sense of the wholly irrational—and that is where the novel both succeeds and struggles.
The Historical Moment: When Holmes Met the Martians
To appreciate what this book attempts, one must understand what it is fusing together—two works that could not be more philosophically and thematically distinct.
Sir Arthur Conan Doyle’s Holmes stories (1887–1927) are rationalist fairy tales, in which logic prevails, chaos is contained, and human wickedness—no matter how grotesque—is, in the end, comprehensible.
H.G. Wells’ The War of the Worlds (1898) is something else entirely—a merciless deconstruction of Victorian hubris, an early work of cosmic horror, and a reminder that science, for all its wonders, is powerless in the face of superior and indifferent forces.
To combine these two literary forces is to take an agent of pure logic and place him in a world where logic is utterly useless.
It is, in short, a paradox.
And yet, paradoxes, when executed properly, can be deeply compelling.
The Art of Adaptation: A Pastiche That Plays It Straight
What makes Sherlock Holmes and the War of the Worlds intriguing is that it does not descend into parody.
The Wellmans do not wink at the audience, nor do they reduce Holmes to a helpless bystander in the face of alien horror.
Instead, they attempt a literary sleight of hand, treating the Martian invasion as one more case—albeit a highly irregular one—in Holmes’ vast portfolio of investigations.
The tone is consistent with Doyle’s original Holmes stories, which lends the novel a certain gravitas even as its premise edges into the ridiculous.
Holmes is, as always, Holmes—unflappable, relentless, coldly analytical. He reacts to tentacled, heat-ray-wielding Martian tripods with the same clinical detachment that he once applied to the seemingly supernatural hound of the Baskervilles.
And yet, the presence of Martians shifts the equation in ways that even Holmes cannot entirely control.
Thematic Clash: When Rationalism Confronts the Cosmic Unknown
The greatest challenge of this novel is that Sherlock Holmes is a character defined by his ability to explain mysteries—but Wells’ Martians are not a mystery to be unraveled; they are an existential event.
And therein lies the structural and philosophical tension at the heart of the book:
Doyle’s Holmes stories are about the triumph of reason over ignorance.
Wells’ The War of the Worlds is about the limits of human knowledge and power.
When these two worldviews collide, the novel enters intellectually unstable territory.
Holmes can deduce Martian behavior, but he cannot defeat them with deduction alone.
He can analyze their weapons, but he cannot reason with an intelligence that sees humanity as insects.
He can, at most, bear witness, applying his scientific rigor to an event that renders all human effort moot.
This means that, for all its pleasures, Sherlock Holmes and the War of the Worlds ultimately struggles with a protagonist who, for once, is not the master of events but their observer.
Which raises the question: Is Holmes still Holmes if he is no longer in control?
Narrative Strengths: What Works?
For all its philosophical difficulties, there are elements of this novel that shine.
Watson’s Voice Is Perfectly Maintained
The book’s greatest achievement is its ability to capture Watson’s narration—that mixture of Victorian stoicism, reverence for Holmes, and occasional exasperation.
The Wellmans understand that Watson is not merely a sidekick, but the emotional core of the Holmes stories, and they give him moments of real poignancy amid the chaos.
The Integration of Historical Figures
Sherlock Holmes and the War of the Worlds cleverly incorporates figures from Wells’ novel and other real-world individuals.
This gives the story a sense of historical weight, as if it exists not just in literary fantasy, but within the plausible alternate history of Victorian England.
The Atmosphere of Dread
The Martian invasion remains as terrifying as ever, and the Wellmans do not shy away from the sheer horror of Wells’ original vision.
Even in a world where Holmes is the great explainer of mysteries, there is no “solving” an alien apocalypse—only survival.
Narrative Weaknesses: What Falters?
The Struggle to Make Holmes “Useful”
The novel bends over backward to give Holmes agency, but the truth is that, in Wells’ story, human agency is irrelevant.
The greatest triumph of Doyle’s Holmes is that he restores order to a disordered world.
But in a world where Martians have already reduced London to ashes, what is left to restore?
The Slight Unease of Genre Fusion
Despite the Wellmans’ best efforts, there are moments when the book strains against its own concept.
There are scenes where one can almost feel the authors wrestling with the narrative, trying to keep Holmes useful even when the logic of the story suggests he should be helpless.
The Martians Are More Interesting Than the Plot
One of the book’s unintended consequences is that it makes the reader wish for a full Holmes story or a full Martian invasion story—rather than this hybrid of both.
The novelty of the premise is its greatest strength and its greatest limitation.
Final Verdict: An Admirable Experiment, A Doomed Fusion
Sherlock Holmes and the War of the Worlds is a noble but ultimately uneasy attempt to force two incompatible literary worlds into a single narrative.
It is brilliantly written, but conceptually unstable.
It captures Holmes’ voice, but places him in a world where his voice cannot alter the outcome.
It is both a love letter to two great literary traditions and proof that some stories should remain separate.
Still, for those who love pastiches, literary what-ifs, and the strange intersections of rationalism and cosmic horror, it remains an intriguing, if imperfect, experiment.
Because some mysteries can be solved.
But some—like the cold, unfeeling gaze of an alien invader—defy all deduction.
As well they should.