Conceptualizing parody as something necessarily comedic is far too reductive in respect to the form. Comedy is used as a tool in parody. (Parody is also used as a tool in comedy, but this has an entirely different origin and end goal). In his work, Yuri Tynianov argues that "the notion of parody as a comic genre, which was current in the nineteenth century and has become firmly entrenched in our day, renders the question too narrow and simply does not apply to the overwhelming majority of parodies" (Tynianov 296). Essential to the parodic is the act of mimicry, which must be driven by "a necessary literary condition [for each] particular case" and not simply by a comic need (Tynianoc 297). Parody is driven by a need, as is the comedy within a parody. Tynianov states that regardless of whether the "current" definition of parody stands solid in its validity, it is impossible to concede that comedy is "really the point" (Tynianoc 299).

As an effective parodic device, skaz is not inherently comedic. By replicating and mocking language of specific and, more importantly, recognizable kinds of characters, tropes, and workers, skaz may have a comic effect, but that is not its point. The use of skaz in Soviet parody aided in the creation of a comic double for the political slogans and jargon that people were so familiar with.

Through specific references to vocabulary and key words, skaz aided in the parody of aspects of the Soviet landscape. In David Brandenberger's collection of jokes and anecdotes from the 1950s, many quips use borrowed language from campaigns: "A provincial newspaper article announced a campaign to promote 'Superior Service for the Working Class.' Amond the many headings in the piece was the following: 'Let's Make Cemeteries More Accessible to the Working Class!'" (Brandenberger 95). While this joke is set up in quite a standard comedic way, with a short statement followed by a twist or punchline, it does not, according to Tynianoc, need to be followed by uproarious laughter in order to succeed in its purpose. The fact that it utilizes key words and phrases such as "accessible to the working class" and "superior service" prove it an accurate rendering of the original, though put in the context of the joke rather than a piece of propaganda. The fact that the anecdote is comedic is simply a side effect of the use of skaz.

Looking at jokes outside of their context often steals the comedy away from them, particularly if that context is political or chronological. While this may detract from the joy of the initial comedic effect, it can allow for a more critical view of what the joke truly meant and why it was told. Another joke from Brandenberder's collection illustrates this: "-Where did all the butter go? / -It must have melted 'in the bright rays of the Stalin Constituation'" (Brandenberger 96). Taken out of context, this anecdote is one of the least funny jokes in the collection (though comedy is, of course, subjective...), yet it illustrates the use of skaz in order to expose the dissonance between the publicized reality and the lived reality rather than simply to get a laugh. To respond to a simple question such as "Where did all the butter go?" with a slogan taken or formed out of a publicized narrative is clearly mimicry of a certain character or group of people. It does have comedic effects. But, again, that is not the point.

To reduce parody to something which must, before anything else, be comedic defeats the real point. Comedy most certainly serves parody, but it is not a definite solution. A more nuanced definition of parody is required to allow for the wide array of tone and structure that parody in its very nature demands.