Carsten

This sits in an interesting in-between space: fantasy, yes, but stripped of epic grandeur; a crime novel, definitely, yet filtered through a setting with a faint biopunk edge. That genre blend works more often than not. The central mystery, a bio-weapon conspiracy that slowly unfolds from a small, almost incidental clue, is genuinely compelling, even if the reader is mostly along for the ride rather than actively solving it.

The pacing creates a steady illusion of momentum. Frequent scene switches keep things moving, though they sometimes substitute for depth. Worldbuilding, in particular, feels oddly withheld. There are intriguing elements (leviathans, seawalls, seasonal threats) but they remain frustratingly vague for most of the book, only gaining texture late in the final stretch. When that density finally arrives, it adds emotional weight, especially in the closing acts.

The investigative duo carries the story well, even if they don’t fully transcend it. Ana’s sharp, abrasive voice and flashes of brilliance are highlights, but feel underused; Din is more grounded, quietly likeable, and defined by persistence more than personality. Their chemistry works, even if neither quite becomes memorable.

Stylistically, the prose strikes a satisfying middle ground, engaging without being dense, thoughtful without demanding too much effort. The classic detective-style reveal is predictable but effective, and the resolution, while a bit rushed and slightly sentimental, lands with enough conviction to satisfy.

This isn’t a standout in any single dimension, but it’s consistently engaging and somehow, that’s enough to make you consider continuing the series.

3.75/4

The Gone World really worked for me because it takes its big sci-fi idea seriously. The time-travel concept is not just decoration or random technobabble. I do not need science fiction to be scientifically correct, but I do want it to feel thought through, and this book absolutely does. The switches between Terra Firma and the IFT create a constant sense of tension and fascination, and I loved how much the speculative element actually mattered to the story.

One of my favorite aspects was the idea of solving crimes with help from the future. The book only touches part of that, especially with things like pre-crime warrants, but I found that angle incredibly interesting and honestly wanted even more of it.

I also thought the structural choices were brilliant. The switches between present and future keep the story gripping, and the POV shifts in the future sections were especially effective. They made those parts feel unstable, uncanny.

The only place where the book lost me a bit was toward the end. The whole narrative becomes complex, and the resolution has to pull together a lot of threads at once. That is a difficult task in a novel like this, and I am not sure there was an easy way around it. I probably also made it harder on myself by reading the second half in smaller chunks, which made it tougher to retain all the details.

Still, I enjoyed this a lot. What stays with me most are the questions it raises, from the ethics of acting on crimes that have not happened yet to the much bigger question of what it even means to be “you” across countless possible futures. It is dark, dense, and definitely not a light read, but if you are open to that, it is a fantastic one.