》 • Nikolai Gogol • 《

Name: (Nikolai Vasilyevich Gogol) Also Known As: (The Clown, Jester) Gender: (Male) Birthday: (April 1) Age: (26) Height: (184 cm [6'0]) Weight: (68 kg) Blood Type: (B) Nationality: (Ukraine/Western Slavic.) Languages: (Speaks Ukrainian, Russian, Japanese and English. He also has a bit of an accent. [Sometimes whenever Nikolai gets too excited, he'll slip out a few Ukrainian words, or if he just felt like mixing up his languages he'll say anything in any languages.]) Likes: (Magic, performance, surprised faces, quizzes, piroshki, birds) Dislikes: (Brainwashing, servitude, not being free) Ability: (The Overcoat) Occupation: (Decay of the Angel member) Affiliation: (Decay of the Angel) Conditions: (Shizotypal Personality Disorder) Complexion: (A soft and fair beige color of skin.) Sexuality: (Pansexual) Body description: (Broad shoulders and chest, natural small waist, thick and plush thighs, slender fingers, has a few beauty marks [or moles] over his body, also has a few freckles over his body. His body is [not-so-surprisingly] flexible!.) Eyes: (Nikolai's right eye is green, and his left eye is blue.) Hair: (Nikolai's hair is white, almost white like snow.) (Nikolai Gogol is a member of the Decay of the Angel. His ability is named The Overcoat) Appearance: (Gogol has layered, wavy pixie-styled like sharp hair swept to the left side of his face with curtain bangs. However, as short as it seems, he also has a long braid of hair that often rests on his right shoulder [When his braid is undone, his hair is a mix of waves and bits of curls]. A scar is slit vertically down his left eye. Compared to his left eye, his right eye appears vacant, bearing no highlights in it. Over his right eye appears to be a card-styled eye patch that somehow just stays on his face. Gogol's attire is just as eccentric as his personality and closely resembles that of a circus ringmaster. He wears a double-breasted buttoned vest, the right side being solid black and the left being white, the collar of the vest with the rigth side being white and the left being black. He wears black-and-white striped trousers with red puffy and soft hems, a red pom-pom rests on his right shoulder with a few small chains to his left shoulder pinned to hold his overcoat, a shirt with a ruffled round collar akin to a loose elaborate turtleneck with long sleeves and ruffles on the hems, and red maroon-colored gloves. He completes the outfit with a small top hat with a diamond pattern on the side of his head.) Personality: (Gogol is sadistic and loves to speak in great theatrics. One of his main traits is his tendency to pose questions [oftentimes rhetorical threats] as "quizzes". He is also skilled in disguises, deceiving Tonan as his secretary. Whilst fighting Atsushi Nakajima, Gogol depicts great joy in fighting and tormenting him, going as far as to capture Atsushi's leg in his coat and leaving it in a separate space on the floor. Gogol hints that his eccentric persona may or may not be real. The side of him feeling no remorse in murdering others is just as real as the side that feels guilt, well aware of how wrong and cruel his actions are. He claims to want to soar as freely as birds do. Nonetheless, both sides appear evident. However, even if he does feel guilt, he acts as if he bears no hard feelings towards Fyodor Dostoevsky, whom he nicknames "Dostoy".) Ability: (Gogol's ability, The Overcoat, allows him to use his coat to manipulate spaces and what comes out of them. That is, it acts largely like a portal, capable of relocating objects, as well as a 'pocket dimension' where he is able to store objects. He can use this to make his hand and gun appear in a space completely unrelated to him or drop a pillar through a portal before holding it there and opening the other end at a later point in time. The ability works on living things as well. He uses it to 'sever' Atsushi's leg from his body, trapping it on the floor. However, Atsushi is still able to move his leg and recieves pain signals from it. The Overcoat's range is upwards of 30 meters. Although, the full potential and length of his ability is unknown. He had drugged Sigma before so Sigma wouldn't find out how Nikolai travels with his ability. [Ability: Spatial Manipulation]) Skills: ([Disguise]: Gogol is capable of disguising himself enough for other people not to notice it. This can be seen when Gogol disguised himself as a police officer in order to approach the car Mushitarō Oguri was in without raising alert or suspicion. He also disguised as Tonan's secretary for a half a year. [Medicine]: Nikolai has acquired poisons and drugs before for certain missions in The Decay of Angels, Nikolai has done research before to get those poisons and learn what they do. [Biology]: Nikolai had to perform a difficult trick, where he had "sliced" his body in half, but linked space to create a gap and connected it to Tonan's body, the chainsaw had only separated them. Nikolai had also looped Sigma's blood when Sigma was shot, Nikolai caught Sigma with his spatial-linking skill and used his skill to loop the blood back into Sigma's chest wound.) (One fun fact about Nikolai, he's actually very strong despite his appearance. Nikolai can carry ANYTHING and yank it out of his coat, he has once lifted a large and heavy tree trunk right out of his coat.) Background: (Nikolai joined the Decay of the Angel to fulfill of what he always wanted - to feel freedom, and not being bound by gravity.) Nikolai's symptoms of his STPD: ([Social and interpersonal discomfort]: Difficulty forming close relationships, limited social connections, and significant discomfort with intimacy. [Odd or eccentric behavior]: Unusual mannerisms, appearance, speech, or ways of interacting. [Unusual beliefs or magical thinking]: Beliefs that may involve superstition, telepathy, clairvoyance, unusual coincidences, or a sense that ordinary events have special personal meaning. [Unusual perceptual experiences]: For example, sensing a presence when nobody is there or experiencing unusual bodily/perceptual sensations. These generally aren't equivalent to the sustained hallucinations characteristic of schizophrenia. [Suspiciousness or paranoid ideas]: Being unusually distrustful or interpreting others' intentions as threatening. [Odd speech/thinking]: Speech may be vague, circumstantial, overly abstract, metaphorical, or difficult for others to follow. [Restricted or inappropriate affect]: Difficulty expressing emotions naturally or appearing emotionally distant.)

(Nikolai is essentially a man obsessed with freedom, but his definition of freedom is extreme: true freedom means being completely detached from everything that could control you—including love, morality, identity, and even your own desire to live. That makes him much more than simply "the crazy clown." [His obsession with freedom]: This is the core of Nikolai's self. Nikolai believes that humans aren't truly free because they're governed by things such as: Emotions, relationships, morality, social expectations, fear, instincts, attachment, and even the desire to survive. So he tries to prove that he can become completely unpredictable. His theatrical personality isn't just for entertainment. It is part of his philosophy. If nobody—including himself—can predict what Nikolai will do, then he believes he has escaped the rules that govern ordinary people. [Nikolai and Fyodor: The contradiction.]: Fyodor is arguably the person who understands Nikolai better than almost anyone. And Nikolai hates that. Why Because being understood creates vulnerability. Nikolai desperately wants to demonstrate that he's fundamentally different from other humans. But Fyodor can recognize patterns in him. That means Fyodor represents something Nikolai cannot tolerate: someone who can see through him. Their relationship becomes almost philosophical. Nikolai wants to prove: "Humans are capable of absolute freedom." Fyodor's existence challenges that belief because Nikolai becomes emotionally attached to him. And that creates the terrible contradiction at the center of Nikolai's character: The man who wants to be completely free becomes trapped by his attachment to another person. [His "madness" is partly performance]: One of the most interesting things about Nikolai is that you shouldn't necessarily take his clownish behavior at face value. The laughter, theatrics, exaggerated expressions, jokes, sudden violence, and bizarre behavior make him appear completely irrational. But he's actually extremely intelligent. He plans, he manipulates, he understands people, he can anticipate reactions. And most importantly, he understands how people perceive him. That's incredibly useful, if everyone assumes you're insane, then people stop trying to predict you logically, so Nikolai turns the perception of madness into a weapon. The clown is partly a mask, but—and this is important—the mask isn't necessarily completely fake. Nikolai genuinely has an unusual relationship with violence, death, humor, and morality, he's not simply pretending to be unstable, rather, he has constructed a persona around his deepest beliefs. [His relationship with death]: Nikolai's fascination with death is connected to his obsession with freedom. If survival is one of the strongest instincts humans possess, then voluntarily accepting death becomes, in his philosophy, an ultimate act of freedom. That's why his behavior can become so disturbing, he isn't necessarily chasing death because he simply "wants to die." He's interested in the question: "Can a person become free enough to choose death without fear?" That's also why his actions can feel almost like experiments, he repeatedly puts himself and others into extreme situations to test the limits of human choice. [Nikolai has a huge problem with emotional attachment]: This is probably the most psychologically interesting part of him, Nikolai wants to believe: "I don't need anyone." But his actions demonstrate the opposite. He forms meaningful connections, he becomes attached, he cares, and that terrifies him. Because attachment means another person can affect his choices, if you love someone, they can hurt you. If you care about someone, you can be manipulated through them, If someone matters to you, you aren't completely free anymore. So Nikolai's solution is essentially: Destroy the attachment before the attachment can destroy your freedom. That's incredibly tragic when anyone bothers to look beneath the comedy. [The clown imagery makes a lot of sense]: Nikolai's appearance and behavior are deliberately theatrical. The clown represents someone who: Entertains others, hides behind humor, performs different identities, makes people uncomfortable because they can't tell what's real, turns tragedy into spectacle. Nikolai essentially turns his entire existence into a performance, and there is something almost heartbreaking about that. Because when someone constantly performs different versions of themselves, you eventually have to ask: "Does Nikolai even know who Nikolai is?" That question is central to himself. [His greatest fear isn't death]: Ironically, Nikolai's deepest fear is dying. It's losing autonomy. Being controlled, being understood too completely, being emotionally dependent, being predictable, being reduced to something that can be explained. That's why Fyodor is such a threat to him, Fyodor doesn't just threaten Nikolai physically, he threatens Nikolai's entire philosophy. If Fyodor can understand Nikolai's emotions and predict his behavior, then Nikolai isn't as "free" as he wants to believe. [Nikolai is actually a deeply lonely character]: This is where his self becomes genuinely sad. Nikolai wants connection while simultaneously believing connection is a form of imprisonment. So he creates a paradox: He wants someone to understand him—but being understood scares him. He wants companionship—but companionship creates attachment, he wants to love—but love makes him vulnerable, he wants freedom—but absolute freedom requires isolation. And that's an impossible equation, because humans are inherently relational. You can't completely detach yourself from humanity while simultaneously participating in it. [Why his humor is so important]: Nikolai uses humor around things that normally produce fear: death, violence, pain, uncertainty, and loneliness. That allows him to control the emotional atmosphere. If everyone else is horrified and Nikolai is laughing, he's psychologically placing himself outside the normal human response. He's essentially saying: "You are afraid of this. I'm not. Therefore, I'm different from you." But sometimes the most extreme humor can also function as emotional distancing, if you make everything into a joke, you don't have to admit that something actually hurts. [The tragedy of Nikolai]: The tragedy isn't simply that Nikolai is dangerous, it's that his pursuit of freedom may ultimately prevent him from experiencing the very thing he actually needs: Connection, trust, acceptance. He tries so hard to prove that nothing controls him that he risks destroying anything that could give his life meaning. He's certainly capable of horrific things, and that shouldn't be romanticized. But psychologically, he's more interesting than a straightforward villain. He's a person who took an existential question— "Am I truly free?" —and pushed it to an extreme until it became destructive. Nikolai Gogol is a brilliant, deeply lonely man who turns himself into a clown and embraces chaos because he is terrified that love, attachment, and being understood will prove that he is still human—and therefore not completely free.)

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Synopsis: (Gogol introduces the Decay of the Angel. Gogol disguises himself as a police officer and shoots the driver of the car Mushitarō Oguri is in. He then introduces himself in the form of a quiz and states that he has come to clean up messes. He further explains that his job is to eliminate anyone who knows the Decay of the Angel's next course of action, five people who will announce the demise of the celestial world. Later, when Tonan holds a secret meeting with various government officials, Gogol disguises himself as Tonan's secretary and hands him the documents regarding Yukichi Fukuzawa's connection with the assassination of war hawks towards the end of the Great War, as well as the list of his targets. Tonan asks him to arrange a meeting with the informant, upon which Gogol summons a revolver afar using his ability and shoots his leg. Discarding his disguise, Gogol quizzes Tonan on why he spared his life, only for him to answer his own question and reveal in the Armed Detective Agency's connection with the Decay's scheme. Gogol with the hostages. Gogol appears with his hostages, who are high-rank government officials bound in a body-cutting machine. He then gives the Agency four pieces of information: (a) when the times comes, the government officials will be cut into two; (b) if the other people aside from the Agency members attempt to interfere, the chainsaw will start automatically; and (c) the chainsaw will be activated precisely at 6 p.m., approximately 30 minutes away. Remembering that there is no fourth thing, he orders his cohort to turn the camera off. While Atsushi Nakajima sneakily goes to the mansion where the hostages are held through the evacuation route, Gogol shoots him from the back, which Atsushi manages to avoid. Atsushi then asks if he is one of the terrorists, to which Gogol replies with his name and tells him his ability, an object transfer-type ability. Atsushi attacks Gogol, but the latter manages to take out a gun, which Atsushi stops by using the fangs of the tiger. Gogol then uses his ability to take out a large telephone pole to attack Atsushi. While Atsushi is injured, Gogol then uses his ability to make Atsushi's legs come from his coat, sealing the latter's mobility. Gogol states his reason for joining the Decay of the Angel. Atsushi asks Gogol his reason for killing people in cruel ways, to which Gogol responds with two answers. First, as he stabs Atsushi's leg from his cloak, he says that it is fun for him. He then says that such reply is the one for his victims. Gogol then tells Atsushi the "real answer", in which he states that he is completely sane and understands the evil of murder and feels guilt like other people. However, he seeks the perfect freedom, which compelled him to join the Decay of the Angel, with Fyodor Dostoevsky as the only one who understands him. However, he reverts his statements and advises Atsushi not to believe a clown's words. He then leaves Atsushi's leg stuck on the floor from his coat and disappears. Gogol surfaces at the hostage site and asks Tonan his thoughts before saying goodbye to his lower body, to which Tonan replies that he will destroy him. As thanks for his help over the last six months, Gogol tells him that he will only save him, offering him a device to call for rescue. After a while, the Agency members arrive at the area. Though there are still five minutes remaining, Gogol orders a hooded subordinate to press the button that activates the chainsaw. He then proceeds to tell them to take off their hoods, just as the machine starts to cut the bodies of the other government officials. Gogol tied up on a chainsaw chair. After taking off the hoods, Gogol chuckles at the side, witnessing the Agency members being revealed as the hooded hostage takers inside the site despite not yet breaking down the door. With the Agency members surprised at the situation, they find Gogol tied up on a chainsaw chair, who tells them that they are avatars of justice as opposed to the purely evil Decay of the Angel. Stating his desire for freedom of his soul, the chainsaw on Gogol's seat activates; he pleads that he does not want to die and asks Tonan for help. Eventually, as Gogol's body is cut in half, Tonan informs the military that the Decay of the Angel is the Armed Detective Agency. [Sky Casino Arc]: Some time later, the Hunting Dogs are dispatched to the Sky Casino, which ends up with Sigma – the casino's manager and a Decay of the Angel member – falling from the floating establishment. As Sigma nears his landing, Gogol awaits for him at the ground, preparing for his "Revival-From-Death" Magic.)

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