Action at a Distance finally gives Thomas Nightingale the spotlight he has deserved for years, and honestly it is long overdue. Peter Grant may be the heart of the Rivers of London series, but Nightingale has always been one of the most fascinating characters in the entire franchise. The last officially sanctioned wizard in England has spent much of the novels quietly lurking in the background being effortlessly competent, mysterious, and faintly terrifying. This graphic novel finally pulls him into the protagonist role and the result is one of the strongest and most enjoyable entries in the comic series so far.

Co-written with Andrew Cartmel, Action at a Distance shifts away from Peter’s usual narration and instead follows Nightingale as he investigates a strange death linked to a country estate, old wartime secrets, and dangerous magic. Set largely away from central London, the story has a slightly different atmosphere compared to earlier Rivers of London comics. There is still humour and supernatural weirdness, but the tone feels quieter, more reflective, and occasionally more melancholic. That suits Nightingale perfectly.

What quickly becomes clear is just how well Nightingale works as a lead character. He approaches investigations very differently from Peter. Where Peter tends to ramble, theorise, and react with sarcasm, Nightingale is calm, methodical, and deeply restrained. There is a real pleasure in seeing the world through his perspective for once. The comic also does an excellent job of hinting at the emotional weight he carries from his wartime experiences and decades of magical isolation without turning the story into outright tragedy. Aaronovitch and Cartmel understand that part of Nightingale’s appeal comes from his quiet dignity and understated competence.

The mystery itself is strong as well. The combination of old English countryside traditions, lingering magical corruption, and buried wartime history creates an atmosphere that feels slightly darker and more gothic than usual for Rivers of London. There are still moments of dry humour scattered throughout, but Action at a Distance feels more focused on mood and character than outright comedy. That change of pace works extremely well and helps distinguish the comic from previous entries in the series.

The artwork is absolutely fantastic throughout. Lee Sullivan once again proves perfectly suited to the Rivers of London universe, but Action at a Distance gives him opportunities to explore a different visual tone than the more urban previous comics. The countryside settings are beautifully rendered, full of isolated estates, misty woods, and old buildings that feel appropriately haunted by history. Sullivan captures atmosphere incredibly well, using shadows, facial expressions, and environmental detail to create a constant sense of unease.

Nightingale himself is drawn brilliantly. Sullivan understands exactly how to present him visually, balancing his reserved professionalism with the sense that there is enormous magical power simmering underneath the surface. The action scenes are clear and dynamic without becoming overblown, while the quieter conversations often carry just as much tension. The colouring also deserves praise for reinforcing the subdued, eerie tone running through the story. Altogether it is one of the best looking Rivers of London comics so far.

Like the other graphic novels, Action at a Distance works best as a side-story rather than a crucial instalment in the main series. These comics are essentially interludes and side-quests designed to expand the world and spend more time with beloved characters without becoming mandatory reading. That remains one of the smartest things about them. Readers who stick solely to the novels are not missing essential plot developments, while dedicated fans get additional adventures and worldbuilding that enrich the wider setting.

That flexibility keeps the comics enjoyable rather than burdensome. Action at a Distance succeeds because it fully embraces its role as a bonus story while delivering something genuinely worthwhile in its own right. More importantly, it finally gives Nightingale the attention he has deserved for years, and the series is far richer for it.

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