If what gripped you was the harrowing fight to endure—Crozier rationing dwindling stores, Dr. Goodsir tracking scurvy and lead sickness, and men vanishing into the white while something hunts them—then you'll devour The Hunger. Katsu reimagines the Donner Party as a doomed trek where Tamsen Donner, Charles Stanton, and others face famine, mutiny, and an uncanny predator dogging their wagon train. It captures the same inexorable slide from order to desperation you felt on the ice, with each decision tightening the noose.

If you were drawn to the bleak, blood-and-ice atmosphere—the butchery on the floes, the stink of shipboard confinement, and the way men like Hickey reveal what the cold brings out—The North Water delivers that ferocity. On a whaling ship bound for the Arctic, disgraced surgeon Patrick Sumner squares off against harpooner Henry Drax, a predator as terrifying as any thing in the dark. Like the fate of the Erebus and Terror, the voyage becomes a study in savagery when civilization thins and the ice closes in.

If Dr. Goodsir’s diary entries, ship’s logs, and scattered reports heightened your dread in The Terror, Dracula perfects that mosaic of testimony. Through Jonathan Harker’s journal, Mina’s typewritten compilations, and the captain’s log of the Demeter, the story assembles horror document by document. That piecemeal revelation—much like the fragments left by Crozier’s men—lets the terror bloom in the margins before it bares its fangs.

If you loved how Simmons made every sledge haul, ice lead, and wintering decision ratchet tension, The Abominable brings that same slow-burn escalation to Everest. American climber Jacob Perry joins Richard “Deacon” Davis and Jean-Claude Clairoux to hunt for a missing mountaineer in 1924, uncovering hints of something far worse than altitude and crevasses. As with Crozier’s long march south, the grind of logistics and the mystery in the thin air fuse into an irresistible, mounting terror.

If you appreciated how The Terror moved among Crozier, Fitzjames, and Goodsir to show the crew’s unraveling, The Deep mirrors that polyphonic dread aboard the Titanic and, later, the Britannic. Through Annie Hebbley, Violet Jessop, and others, Katsu layers class tensions, shipboard superstition, and a haunting that creeps from cabin to corridor—much like whispers on the ice that something is out there and getting closer.