If what hooked you in The Chill was following Archer from Alex Kincaid’s missing-bride case into a labyrinth of long-suppressed guilt and identity, Millar’s Beast in View will hit the same nerve. Like Archer’s search for Dolly morphing into a study of trauma and obsession, Millar’s investigation starts with menacing phone calls and peels back layers of self-deception until the final reveal recasts everything you thought you knew.

You enjoyed how The Chill keeps springing surprises—each lead Archer chases about Dolly’s disappearance detonates another revelation about the past. A Dark-Adapted Eye does that in a different key: as family secrets surface, every new piece forces you to reinterpret what came before, culminating in a twist that lands with the same cold sting as Archer’s final unmasking.

If you liked how Archer’s hunt for a runaway bride in The Chill spirals into older deaths and a university-town tragedy, Tey’s The Daughter of Time offers a similarly stratified puzzle. Inspector Grant reconstructs a centuries-old case from scant clues, and—just as Archer keeps revising his theory with each interview—every document Grant uncovers reshapes the narrative until the past snaps into chilling focus.

The hard edges in The Chill—Archer’s cool voice, the seedy rooms, the sense that digging up the truth leaves scars—are cranked even darker in The Black Dahlia. As Bucky Bleichert’s investigation drags him through L.A.’s underbelly, the grime, compromised loyalties, and corrosive secrets echo Archer’s world, delivering that same grim satisfaction when the truth finally surfaces.

If Archer’s first-person narration drew you in—his weary empathy with Alex Kincaid, his dry asides as each lead on Dolly opens new fissures—Chandler’s The Long Goodbye delivers that same intimate vantage. Marlowe’s voice guides you through shifting allegiances and elegant deceptions, making every clue personal and every betrayal sting, just as in Archer’s case.