Rivers of London / Peter Grant Graphic Novels Books in Order

For many fans of the prose series, the idea of picking up a graphic novel spin-off might seem like an optional side quest. We are generally used to tie-in comics that merely adapt existing stories or offer non-essential fluff to keep a brand alive. However, that is not how Ben Aaronovitch approaches his work. The Rivers of London graphic novels are designed from the ground up to be a legitimate, essential part of the Peter Grant universe.

Aaronovitch writes these scripts in close collaboration with Andrew Cartmel, a fellow writer and old friend. Their professional relationship actually stretches back decades to their days working on television sci-fi in the late 1980s. Because they share a background in screenwriting, the transition from novel to comic script feels incredibly natural. The dialogue retains that snappy, dry wit found in the books, and the pacing is handled with the precision of a TV police procedural.

Crucially, these are not adaptations.

Instead of retelling the events of Midnight Riot or Moon Over Soho, these graphic novels tell original stories that fit snugly into the timeline between the main books. They act as bridges, filling in the weeks and months of police work that happen while readers are waiting for the next major novel release. Because they are fully canonical, events that transpire in the panels—such as the introduction of new recurring characters or specific magical discoveries—are often referenced later in the prose sequels.

The change in medium also allows the authors to flex different creative muscles. While the novels are famous for Peter’s detailed architectural digressions and internal monologue, the comics prioritize visual spectacle and kinetic action. This is the place to go if you want to see high-speed car chases with haunted luxury sedans, magical aerial dogfights, or the chaotic reality of a supernatural infestation.

Where the novels often deal with heavy, long-running conspiracies involving the Faceless Man, the comics tend to embrace a "monster of the week" format. This approach lets the team at the Folly tackle bizarre, standalone cases that might not sustain a full-length book but are perfect for a visual serial. The investigations run the gamut of urban weirdness, featuring everything from outbreaks of sentient fungi and mold to cursed sporting goods and localized werewolf problems.

It also gives the wider ensemble cast a chance to step into the spotlight. We get to see more of the day-to-day operations involving Nightingale and the river gods, as well as the continued education of Abigail. It is a seamless extension of the world Aaronovitch built, offering a fresh way to walk the magical streets of London.