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The final year at Lander has finally arrived for the Melbrook students and their peers, and with it comes a whole new set of challenges. Still reeling from the events of their junior year, the remaining students will have to push past their pain—and so much more—if they hope to be one of the ten to claim the title of Hero upon graduation. Constant tests and trials await the senior students. Beyond simulated missions and classes, they’ll also have to buckle down to learn about agents, prospective teams, internships, and other seemingly endless elements of being a Hero.

A pantheon of forgotten gods. An old grudge between a talk show host, an heiress, and the man they shattered along the way. A rapidly deteriorating AI system. An inconvenient tiara upon the head of a friend.

As management reels from the unexpected conclusion of the seventh level, the surviving crawlers stumble onto the eighth and find themselves scattered. It’s a map based on Earth’s final days before the collapse, where ethereal, intangible ghosts of humanity go about their lives, oblivious of the impending doom. Living amongst these ghosts are monsters based in Earth lore. “Legendary” creatures tied to the geographical location they inhabit. Each team of crawlers is given a task: Find and capture six of these beasts.

A man. His ex-girlfriend's cat. A sadistic game show unlike anything in the universe: a dungeon crawl where survival depends on killing your prey in the most entertaining way possible. In a flash, every human-erected construction on Earth - from Buckingham Palace to the tiniest of sheds - collapses in a heap, sinking into the ground. The buildings and all the people inside have all been atomized and transformed into the dungeon: an 18-level labyrinth filled with traps, monsters, and loot.

The apocalypse will be televised! You know what’s worse than breaking up with your girlfriend? Being stuck with her prize-winning show cat. And you know what’s worse than that? An alien invasion, the destruction of all man-made structures on Earth, and the systematic exploitation of all the survivors for a sadistic intergalactic game show. That’s what. Join Coast Guard vet Carl and his ex-girlfriend’s cat, Princess Donut, as they try to survive the end of the world—or just get to the next level—in a video game–like, trap-filled fantasy dungeon.

Two months ago, Clay Jaeger, his wife Alex, and his chainsaw-toting brother Joe came to the Infested Zone on a mission: kill a Dungeon Lord. What they found along the way was a land of opportunity. Gold-dropping monsters, magical weapons, and best of all, freedom—all there for the taking. If they can live long enough to grab it. Surviving in the wasteland has been a constant fight, but thriving in it, that’s going to take something more. Not just power, but the brains to use it in ways nobody’s seen before.

Geralt of Rivia is a Witcher, one of the few capable of hunting the monsters that prey on humanity. He uses magical signs, potions, and the pride of every Witcher—two swords, steel and silver. But a contract has gone wrong, and Geralt finds himself without his signature weapons. Now he needs them back, because sorcerers are scheming, and across the world clouds are gathering. The season of storms is coming. . .

A dance club full of bodies. Cause of death - a mystery. The lone survivor - a man, raving like a lunatic, wearing only a deerstalker hat. Now, the man who calls himself Sherman Holmes is being studied like a lab rat by a top-secret government agency. How is it he can be barely clinging to reality one minute - yet be a seeming genius the next? Within his brain might just be the greatest scientific breakthrough of the millennium, if anyone can figure out how to access it. Enter the agent code named Watson.

Kit Harington (Games of Thrones) and Johnny Flynn (Beast) smolder and burn as sparring brothers in Sam Shepard’s darkly comic 1980 drama. The live theatre production of True West was performed at the Vaudeville Theatre in London, United Kingdom, in 2019. It was produced by Joseph Smith and John Brant for Smith & Brant Theatricals and James Bierman for Empire Street Productions.