This article focuses on a new media narrative phenomenon, which for want of name, is dubbed comicast, a portmanteau term derived from the first four letters of “comic,” that which humours and stimulates laughter, and the last four letters of “broadcast, describing the mode of performance of this joke subgenre, in that it always entails the will-to-broadcast and caricatures the granting of interviews supposedly meant for broadcast; reading, reporting and relaying of news items or bulletins to an ostensible listening mass audience from feigned studio spaces or right on the streets; feigning presidential address to the nation; or assuming the mission of sensitization of the polity on some grave issues. Typical of any mass group with entrenched robust popular culture, low class Nigerians have evolved this form of expression in reaction to mainstream expressive media environment that has cut them off from having a say in the goings-on in the body politic. Using Wolf’s theory of multimediality, which happens “wherever two or more media are overtly present in a given semiotic entity at least in one instance”, this article investigates the images of violence depicted in the multimodal narratives of these comicasts and argues that much as the comicast is contradistinguished from such strands of joke-performance as standup comedy and others, it also remains an emphatic culturally ordained subgenre of joke-performance whose preoccupation with humourous multimodal narratives is tinged with biting socio-political commentaries.