Written by Kelly Thompson

Art by Mattia De Iulis

Lettering by Hassan Otsmane-Elhaou

Edits by Charles Beacham

Design by Rian Hughes

Published by Image Comics

Five friends set off to shoot a short film on a forbidden rock near their home the summer before they all go their separate ways…

There’s a panel early in the first issue of this series where main character Cleo is preparing to leave the house. She’s steeled herself, packed a bag that’s one part bugout, one part expedition and she sees her reflection in the mirror. She looks tired, terrified. Furious. She looks at a photo of a little boy with red hair grinning in his mother’s arms. Then sneaks past the mother, asleep at a table covered in Missing Persons posters. Same child. Different photos. Entirely different meanings.

Kelly Thompson’s script hits one of these moments, on average, every two pages. We follow Cleo, then cheerily competent friend Kaite, then professional worrier Wade and her amiable tank of a brother, Will. Finally, in one of the most haunting scenes we meet their friend Lux, practising her smile in the mirror. And, we realize on second look, concealing a black eye.

It’s the early hours of the morning and something terrible is happening in Black Water Beach. These five kids are here to find out what. Or perhaps cause it.

Thompson’s script on its own is incredibly impressive, combining the otherworldly with the painfully grounded and familiar. Lux and Katy’s relationship is an early standout as is the clear sense Cleo has more idea of what’s about to happen than she’s letting on. Most of all though, Thompson excels here at telling a story in negative space. This is a town under siege, and this group of kids are the only people brave enough to find out why. That’s an idea that’s been powerful for generations and it’s superbly well handled here.  Combined with Mattia De Iulis’ art and Hassan Otsmane-Elhaou’s lettering it becomes honestly stunning. De Iulis’ understanding of light and posture is intensely smart and there’s moments of physical performance here which tell us just as much as the script does. Ostmane-Elhaou’s lettering too captures the individual voices of the characters, the way they interact and the breaking strain their entire world is under. Everything works, from silent glances to otherworldly reveals. It’s fantastic work all around.

Verdict: The Cull is the most impressive book I’ve seen in a while. It’s relentless, careful and shivers with tension. Incredible work from all involved. 10/10

Alasdair Stuart