Cry Fox is probably the darkest and strangest of the Rivers of London graphic novels so far, blending folklore, horror, magical conspiracy, and outright human depravity into a story that feels considerably more unsettling than earlier comic outings. Co-written with Andrew Cartmel, the story follows Peter Grant and the Folly as a kidnapping investigation spirals into something much worse involving talking foxes, old myths, and a wealthy family with some deeply disturbing hobbies. It is bizarre, occasionally uncomfortable, and consistently entertaining in exactly the way long time Rivers of London readers would expect.

The story builds directly from threads introduced in Night Witch, bringing back Varvara Sidorovna and introducing one of slimiest gits to ever grace the page, Reynard Fossman, as the main antagonist. What with his sociopathic tendencies and serious paedo vibes I just can’t abide this character… but then again I’m not supposed to. He is the sort of villain who immediately makes every scene feel unpleasant in the best possible way, and the comic benefits enormously from having an antagonist who feels genuinely dangerous rather than simply eccentric. Aaronovitch and Cartmel lean heavily into fairy tale imagery and fox mythology throughout the story, giving the entire book a darker atmosphere than many previous Rivers of London adventures.

One of the strongest aspects of Cry Fox is the increased focus on Abigail Kamara. Abigail has always been a fan favourite character, but here she becomes central to the narrative and proves more than capable of carrying major sections of the story. Her confidence, sarcasm, and growing magical abilities make her consistently enjoyable to follow, especially when contrasted against the sheer unpleasantness of the villains surrounding her. The interactions between Abigail and the talking foxes also add a strange charm to the story, balancing out some of the darker material with moments of humour and warmth.

The artwork remains absolutely fantastic throughout. Lee Sullivan’s art style continues to be one of the defining strengths of the Rivers of London comics, perfectly capturing the mixture of grounded London realism and supernatural weirdness that defines the series. The character work is especially strong in Cry Fox because so much of the story depends on expressions, tension, and atmosphere rather than constant action. Reynard himself is drawn with exactly the right balance of smugness and menace, while the foxes manage to look both magical and believable at the same time. Sullivan also handles the horror elements extremely well, particularly during the hunting sequences and the scenes inside the isolated estate where much of the story unfolds. Luis Guerrero’s colouring deserves just as much praise, adding mood and depth to every page while giving the supernatural moments an eerie intensity that never overwhelms the rest of the artwork. The comic consistently looks superb from beginning to end.

Like the previous graphic novels, Cry Fox works best as a side-story rather than a vital instalment in the main Rivers of London narrative. These comics are essentially interlude adventures or side-quests that expand the universe without becoming essential reading. That remains one of their greatest strengths. Fans of the novels gain extra worldbuilding, character moments, and entertaining supernatural investigations, but readers who stick purely to the prose novels are not missing major plot developments.

That balance keeps the comics enjoyable rather than exhausting. Cry Fox enriches the wider world of Rivers of London while remaining entirely optional, delivering a dark, atmospheric, and visually stunning supernatural thriller that comfortably stands alongside the stronger entries in the series.

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