"NEVER GO BACK," Part Three (of Five) Marcus and Maria return to Kings Dominion and face the rot that festers in its halls. HOLLYWOOD NEWS! Soon to be a SYFY TV series airing on Wednesday, January 16th, 2019.

This new edition of RICK REMENDER and WES CRAIG’s DEADLY CLASS, VOL. 1 features a media tie-in photo cover with key imagery from the highly anticipated SYFY series—coming in 2019 from Executive Producers the RUSSO BROTHERS(Directors of Avengers: Infinity War)!! “DEADLY CLASS is a solid read for those who want a combination of MARK MILLAR’sWANTEDand Harry Potterwith GARTH ENNIS’s (Preacher) style.” —Library Journal(Starred Review) Welcome to the most brutal high school on earth, where the world’s top crime families send the next generation of assassins to be trained. Murder is an art. Killing is a craft. At Kings Dominion School for the Deadly Arts, the dagger in your back isn’t always metaphorical. Collects DEADLY CLASS #1-6

The crew returns to Kings Dominion to discover things have changed in their absence. Master Lin's schemes are revealed in the authors' darkly humorous look at the 1980s underground comes full circle. Collects #36-40.

"NEVER GO BACK," Part Two (of Five) Get ready for the wildest night in Tokyo as Saya gets one chance to escape the clutches of her psycho Yakuza brother Kenji. Hollywood News: Soon to be a SyFy TV series airing in 2019.

END OF STORY ARC "LATER THAN YOU THINK," Conclusion Grant and Sara McKay stand at the center of the Onion, finding not heaven or hell, damnation or redemption, but a truth far grander and stranger than even the Dimensionauts could ever have imagined.

"NEVER GO BACK," Part Four Marcus returns to Kings Dominion with a head full of nightmares and a heart full of holes.

The crew returns to Kings Dominion to discover things have changed in their absence. The program has changed. Master Lin's schemes revealed. Betrayal. Mystery. The secret of the catacombs beneath the school. A reckoning for the corrupt. Our friends try to hold everything together as Freshman Finals loom ever closer RICK REMENDER and WES CRAIG's darkly humorous look at the 1980s underground comes full circle. Collects DEADLY CLASS #36-39, FCBD 2019 DEADLY CLASS KILLER SET (ONE-SHOT)

The Shadow Players have realized that Spawn, even though powerless, will not stop gunning for them. So an uneasy alliance is formed with the sole purpose of taking out Al Simmons!

A study of Ben Shahn’s New Deal murals (1933–43) in the context of American Jewish history, labor history, and public discourse. Lithuanian-born artist Ben Shahn learned fresco painting as an assistant to Diego Rivera in the 1930s and created his own visually powerful, technically sophisticated, and stylistically innovative artworks as part of the New Deal Arts Project’s national mural program. InBen Shahn’s New Deal Murals: Jewish Identity in the American Scene author Diana L. Linden demonstrates that Shahn mined his Jewish heritage and left-leaning politics for his style and subject matter, offering insight into his murals’ creation and their sometimes complicated reception by officials, the public, and the press. In four chapters, Linden presents case studies of select Shahn murals that were created from 1933 to 1943 and are located in public buildings in New York, New Jersey, and Missouri. She studies Shahn’s famous untitled fresco for the Jersey Homesteads—a utopian socialist cooperative community populated with former Jewish garment workers and funded under the New Deal—Shahn’s mural for the Bronx Central Post Office, a fresco Shahn proposed to the post office in St. Louis, and a related one-panel easel painting titled The First Amendment located in a Queens, New York, post office. By investigating the role of Jewish identity in Shahn’s works, Linden considers the artist’s responses to important issues of the era, such as President Roosevelt’s opposition to open immigration to the United States, New York’s bustling garment industry and its labor unions, ideological concerns about freedom and liberty that had signifcant meaning to Jews, and the encroachment of censorship into American art. Linden shows that throughout his public murals, Shahn literally painted Jews into the American scene with his subjects, themes, and compositions. Readers interested in Jewish American history, art history, and Depression-era American culture will enjoy this insightful volume.