If what hooked you was Richard stumbling from ordinary life into London Below with the Marquis de Carabas and Door, you’ll love how rookie constable Peter Grant gets drafted into the Folly and starts interviewing river spirits like Mama Thames, chasing a face‑stealing killer, and navigating ghost‑ridden neighborhoods. Like your time on the Night’s Bridge or at the Floating Market, Rivers of London mixes police procedural momentum with delightfully oddball city magic and a very British sense of humor.

If slipping from Earl’s Court to the Black Friars’ ordeal and meeting Croup and Vandemar thrilled you, wait until Deeba and Zanna tumble into UnLondon—a city stitched from castoffs where a sentient Smog is the big bad, buses have teeth, and allies include a milk carton called Curdle. Like Richard’s quest to help Door and confront the Angel Islington, Deeba must defy prophecy itself to save a city most people never notice.

If the labyrinthine lore of London Below—the Rat‑Speakers, the Earl’s Court on a moving train, the Market’s peculiar customs—enchanted you, you’ll revel in Kell’s blood‑magic jaunts between Red, Grey, and White London, each with distinct cultures and hazards. As Kell and Lila Bard try to trap a corrupt relic before it consumes the city, the sense of place is as vivid and rule‑shaped as the unspoken bargains Richard had to learn to survive.

If Croup and Vandemar’s cheerfully ghastly patter made you laugh even as they sharpened the knives—and the reveal of the Angel Islington’s true nature delighted your dark side—you’ll adore Aziraphale and Crowley’s snarky attempts to misplace the Antichrist and fumble Armageddon. Good Omens delivers that same sly, irreverent humor threaded through ominous forces, with set pieces as memorable as Richard’s trial with the Black Friars.

If the way London Below literalized people who’ve ‘fallen through the cracks’ resonated—Richard becoming invisible to the above‑ground world while meeting scavengers, bodyguards like Hunter, and hustlers like the Marquis—you’ll click with New York’s borough avatars (Manhattan, the Bronx’s Bronca, Brooklyn) fighting the uncanny Woman in White. Jemisin’s story leans into gentrification, erasure, and community solidarity with the same sharp social undercurrent you felt beneath Door’s flight and the Market’s rules.