Ever wonder what would happen if Christine ended up in a breakers yard?

Ever wondered just how Constable Guleed got involved with the Folly (or “weird bollocks” as our friend DCI Alexander Seawoll would say)?

Well wonder no longer for all this and more is in Rivers of London: Body Work.

Ben Aaronovitch’s Body Work is the first graphic novel set in the Rivers of London universe, slipping neatly between the events of Broken Homes and Foxglove Summer while following Peter Grant through another thoroughly odd case for the Folly. This time the mystery revolves around a haunted BMW, strange possessions, river spirits, and the sort of magical collateral damage that only seems normal in Aaronovitch’s version of London. Co-written with Andrew Cartmel, the story captures the tone of the novels remarkably well, balancing police procedural detail, dry humour, and supernatural weirdness without ever feeling like a diluted spin-off.

The strongest surprise here is just how confident the comic feels from the opening pages. Peter’s voice comes through perfectly, with the same sarcastic observations and casual intelligence that make the novels so enjoyable. Thomas Nightingale remains wonderfully composed in the face of absolute madness, while supporting characters such as Sahra Guleed and Beverley Brook immediately feel recognisable to long-time readers. The dialogue has a natural rhythm, and even when the plot threatens to spiral into chaos there is always a sense that the writers understand these characters inside and out.

The real star of Body Work, however, is the artwork. Lee Sullivan’s illustrations give the entire book a sense of movement and personality that fits Aaronovitch’s world beautifully. London feels lived in rather than romanticised, full of cluttered garages, damp streets, tired offices, and sudden flashes of magic. The expressions are especially strong, selling both the humour and the horror with equal skill. Luis Guerrero’s colours deserve just as much praise, adding warmth to quieter scenes and eerie intensity to the supernatural moments. The visual storytelling never feels static; even simple conversations have energy and momentum. There are several sequences involving the possessed cars that are genuinely creepy, while the quieter character moments are handled with equal confidence. It is one of those rare adaptations where the art style genuinely expands the world rather than simply illustrating it.

What makes Body Work particularly successful is that it understands its place within the wider Rivers of London series. These comics are effectively side-quests or interlude adventures, offering extra time with Peter Grant and the Folly without pretending to be essential chapters in the central storyline. That is very much a strength. Readers deeply invested in the novels will enjoy the additional character beats, references, and worldbuilding, but newcomers do not need to panic about missing vital information if they skip the graphic novels entirely. The main series still stands perfectly well on its own.

That balance is important because Body Work succeeds best as a bonus rather than a requirement. It enriches the world, deepens the atmosphere, and provides another entertaining case file for Peter Grant, but it never feels like mandatory homework between novels. Instead, it is simply a very good comic set in a universe already full of charm, humour, and magical chaos.

For established fans, that combination makes Body Work an easy recommendation. It captures the wit, eccentricity, and grounded humanity that define the novels while embracing the strengths of comics as a medium. Even readers normally cautious about tie-in graphic novels may find themselves pleasantly surprised by how polished, atmospheric, and entertaining this collection proves to be.

Buy your copy here