Going Grey

I’ll admit, I rolled my eyes at first. *Another* ‘kid discovers their delusions are real’ story? But *Going Grey* gutted me by the third chapter. Traviss doesn’t just drop Ian into a high-stakes chase—she forces him (and us) to grapple with the psychological fallout of being *right* about the impossible. The shape-shifters aren’t just plot devices; they’re a metaphor for the way trauma warps perception, and Morton’s performance sells every second of Ian’s unraveling. His voice cracks with exhaustion in one scene, then snaps into eerie precision when channeling the antagonists, making the audiobook feel like a confession tape you weren’t meant to hear. That said, the middle act drags in places—Traviss leans *hard* into Ian’s isolation, and while it’s thematically fitting, there are stretches where the paranoia loop starts to feel repetitive. And while Morton’s Scottish lilt adds grit to Ian’s character, some of the secondary voices (particularly the female roles) occasionally veer into caricature. But the payoff? Worth it. The final act’s twist isn’t just a reveal; it’s a gut-punch recontextualization of everything that came before. This isn’t a thriller for fans of neat resolutions or clear-cut heroes. It’s for listeners who want their suspense laced with existential dread—and who don’t mind leaving a few lights on afterward.