Due to its allegorical nature, science fction narrative in Russian literature-centric culture becomes a transmitter of sociocultural metamorphosis. Science fction literature of the 2010s constructs fctional spaces appealing to the recipient’s emotional background. The primary purpose of this is to initiate a call to action by referring to the reader’s fundamental experiences and anxieties, hopes, ambitions, and frustrations. Reality is often depicted as traumatic, and by integrating eschatological motives, authors implement both escapist and expressive functions into their texts. The illustrative material for the article below is the novel “The Four” by Alexander Pelevin – it is especially representative within the context of individual creative practices, as the author makes a point of marketing his works via social media, and direct communication with the audience. The category of the end of the world is interwoven into the genre both metaphorically and as a structural aspect of the plot (apocalyptic/postapocalyptic fction), and in “The Four” it is extended throughout the narrative layers, both vertically and horizontally. From a purely religious impression, Apocalypse shifts into the everyday motive, and it ensures strong connection between the main character and the recipient by the means of shared experience. The recipient of the 2010s, just as the character whose path they observe, undergoes the chaos, colossal change, and suffering that comes with it. In other words, by referring to the end of days, science fction literature of the 2010s reflects the prosaic yet tragic everyday turbulence.