This paper deals with the genre connections between the menippean satire and contemporary Croatian dystopian novels. The menippean satire appears in ancient Greece as a literary form that deals with current social problems through parody, mocking mostly philosophers of nature, religious dogmas, science and human stupidity. In a formal sense it is characterized by the often mixing of poetry and prose, as well as mocking, hyperbole and fantasy. Bahtin linked the menippean satire to the "seriously-ridiculous" field of literature in which, along with the "Socrates dialogue" genre, played an extremely important role in the development of the "carnival type" of art prose. As an essential feature of the menippean satire, Bahtin points out the "grotesque image of the world" which he finds in the so-called "Rabelais" literary images, characterized by radical distortions, caricaturization, overstatements, as well as a subversive relationship to tradition and official ideology. Although Bahtin's concepts of "grotesque realism" and "carnivalization" were explored in the "folkloric culture" of the Middle Ages and Renaissance, his research later became the starting point for numerous studies in which he analytically approaches texts belonging to different historical epochs and genres. Similar to those approaches , in this paper the following contemporary Croatian dystopian novels are being interpreted: Kuća velikog jada 2084. (“The House of Great Dread 2084”) (2012.) i Vladimir se vraća kući (“Vladimir Returns Home”) (2013.) of Ivo Balenović and Što će biti s nama (“What will be with us”) (2015.) of Borivoj Radaković. Falling images, festive images, grotesque images of the body, and relation to official culture and ideology links these novels with the features of menippean satire as described by Bahtin.