There are multiple modulations of “the double” at work in this chapter and the texts discussed. The principle text is Iain Banks Complicity (1993) and, this is compared with Ian Rankin’s Knots and Crosses (1987) and William McIlvanney’s Laidlaw (1977). Banks’ extraordinary rendition of transgression and identity, the deployment of a truly diabolical double, in the form of Andrew Gould, and the bewildering movement between genres means Complicity is a matter of collision and collusion, which bridges the spaces between whilst revealing and revelling in the multiple meanings of fantasy. The uses of mirroring in the works discussed add an unsettling undertone to the interplay, interrelationships and doubling that occurs between protagonists and readers, the lack of clarity in the phrase “criminal act,” namely the legal and social perceptions of “criminality,” introduces instability and ambiguity with regard to the authorial position regarding events within the narrative. As readers and critics, we are complicit in the acts of the author and we have no say in whether they are carried out thus the doubling occurs at a metatextual level through the unspoken contract between consumers of fiction. This is particularly prevalent in Banks’ transgressing the agreements of genre whereby the reader’s expectations are challenged by the direction which the author chooses to take. As rogued here, this deliberately uncomfortable transformation and doubling of the reader into the witness through the mind of the narrator is employed in Complicity and makes us a doppelgänger of sorts with our intimate connection to the perpetrators and our inability to interfere or stop reading.