The End of the Fucking World

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NUMBER OF PAGES

157

CREATED BY

PUBLISHED BY

ORIGINALLY PUBLISHED

August 2013

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“The most beautiful piece of Americana made in years. Every page Forsman draws is a minimalist masterpiece. Huge and heartbreaking. A modern triumph disguised as an episode of Peanuts.” – Matt Seneca

The End of the Fucking World follows James and Alyssa, two teenagers living a seemingly typical teen experience as they face the fear of coming adulthood.

Forsman tells their story through each character’s perspective, jumping between points of view with each chapter. But quickly, this somewhat familiar teenage experience takes a more nihilistic turn as James’ character exhibits a rapidly forming sociopathy that threatens both of their futures. He harbours violent fantasies and begins to act on them, while Alyssa remains as willfully ignorant for as long as she can, blinded by young love.

Forsman’s story highlights the disdain, fear and existential search that many teenagers experience, but through a road trip drama that owes as much to
Badlands as The Catcher in the Rye. Forsman’s inviting, Charles Schulz-influenced style lends a deadpan quality that underscores the narrative’s tension. The End of the Fucking World was one of the most talked-about graphic novels of 2013.

• 2013 Ignatz Award Winner: Outstanding Minicomic (Issue 16 of the original series)

• A “Notable Comic” in
The Best American Comics 2013 (Issues 1-7 of the original series)

• Named one of
Wired’s Best Comics of 2013

• Named one of
ComicsAlliance’s Best Comic Books of 2013

• Ranked #4 (tie) on the
Publishers Weekly Comics World 2013 Critics’ Poll

• One of
Comics Bulletin’s Top 10 Original Graphic Novels of 2013

“The awkwardness, the urgency, the sense of discovery, the sense of revulsion — it’s all true, even if you’ve never stuck your own hand in a garbage disposal.” – Sean T. Collins

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Comic Book Resources

•Comics website

“This is a crime comic disguised as a slacker-road-trip comic, and Forsman delivers its methodical hum eight pages at a time with an astounding precision.”

Spandexless

•Comics website

“[TEOTFW] exemplifies what exactly it is I love about comics. It’s lo-fi yet stylistic, subtle yet visceral – a version of Bonnie and Clyde bled through the lens of Gus Van Sant's Paranoid Park.”

The Comics Journal

•American comics magazine

“The spareness of the drawings allows Forsman to really concentrate on the relationship between James and Alyssa, and it’s a tribute to his skill that he’s able to tell so much of the story through their body language and how they relate to each other in space. The slumping shoulders, rolled eyes, and physical comfort they feel in each other’s presence are rendered simply and gracefully by Forsman; there are simply no extraneous lines to be found in this comic. That’s a mark of a confident artist hitting his stride.”