This paper is exploring posthumanist conceptual frame of the bizarro fiction the novels Beauty Eats People (2011.) and Minus Sapiens (2017.) by Zoran Roško and Gods of The Neon (2019.) by Nenad Stipanić. By way of Rosi Braidotti's definition, posthumanism is understood as a historical movement within art, philosophy and society which is aimed at decentralising of the human subject and critical confronting of the eurocentric paradigm of the humanism, the one which presents humanity as the norm. In these novels, posthuman characteristics are realised primarily through thematic and axiological field, in respect to the (post)apocalyptic content and negative evaluation of the humanist ideal. In that manner, they develop an imposed frame of posthumanist reflection containing subjects of endism, ecological disaster, deconstruction of humanity, affirmation of the artifical intelligence and postanthopocentrism which is attempting at prevailing binarisms: human-animal, human-divine. With that in mind, these themes are being explored within the genre of bizarro fiction, which is active for the past two decades, as a certain branch of the new weird fiction. Authors' autopoetic commentary is attempting to distance their persona from the new weird fiction, insisting upon the lowbrow style, „crude“, vulgar expression and unpretentiousness of the notion of entertainment as the sole function of the genre. But, that exact rebellious mindset and intentional parody of the highbrow literature lead these authors to the literary aspects of the pastiche, collage and highlighted intertextuality which is, in the attempt to accomplish its ludist function, is being tied to the function of aesthetic reevaluation. The highlighted intertextuality is typical for the literary works which are the subject of this paper, and the relations to other discourses, literary works and other media is being analysed within the context of the ludist intentions and affiliation with the posthumanist axiological frame. In doing so, authors use different narrative techniques to achieve posthumanist dehumanisation: from profound autofiction of The Gods of Neon with its metaleptic insertions to the playful pretense of the unreliability of the narrator in Roško's novels. Intertextual phenomenons are brought about as either illuminative – negating or aesthetically redefining the source, or illustrative – agreeing with the source text's values. Along the side of intertextuality there are also paratextual elements which signify the novels as being part of the ergodic literature (Aarsen): The Gods of Neon contain hypertextual links to the online content which further explains meanings, and the chapter names in Beauty Eats People through referencing lead to the online video content which embodies the novel's content into visual context.