Dostoevsky and Gogol

Fyodor Dostoevsky

GENDER Male

BIRTHDAY November 11

AGE 22–26 (Approximately)

LIKES Sweets Listening to classical music Playing the cello

DISLIKES Humanity’s sinful nature

ABILITY Crime and Punishment

REFERENCE Crime and Punishment

OCCUPATION Rats in the House of the Dead leader Decay of the Angel founder Decay of the Angel member (former)

AFFILIATION Rats in the House of the Dead Decay of the Angel (former)

Fyodor is a tall, slender young man with a pale complexion and a gaunt, almost sickly appearance. He has long, unkempt purplish-black hair that falls to his shoulders and sharp, dark purple eyes that give him a perpetually tired yet piercing gaze. His presence is quiet but deeply unsettling, often creating tension without him needing to speak.

His attire is formal and distinctive. He wears a long-sleeved white shirt with subtle purple accents, paired with white trousers. Over this, he dons a long black coat lined with white fur and decorated with gold buttons. He also wears a white ushanka and dark maroon boots, reinforcing his cold, composed image. After his capture, he is confined in Meursault, where he wears standard white prison clothing.

Fyodor is an extremely enigmatic and dangerous individual, widely regarded as one of the greatest masterminds in the series, rivaling even Osamu Dazai in intelligence. He possesses extraordinary analytical ability, memory, and psychological insight, allowing him to understand and manipulate human nature at its core. He rarely acts impulsively; instead, every move he makes is part of a long-term, multilayered strategy.

He remains calm and composed in nearly all situations, even when facing death. Fyodor is willing to place himself in extreme danger—including capture or apparent death—if it serves his larger plans. His confidence stems not from arrogance, but from absolute certainty in his own calculations.

Fyodor’s ideology centers around the concept of “salvation.” He believes humanity is inherently sinful and that true salvation can only be achieved through purification. To him, abilities are a manifestation of that sin, and he seeks to eliminate them entirely. He frequently frames his actions as divine will, speaking in religious and philosophical terms while committing large-scale acts of terrorism without visible remorse. This contrast between polite demeanor and ruthless intent is one of his most defining traits.

Despite occasionally appearing courteous or even gentle, Fyodor views nearly all people as tools. He does not form genuine emotional bonds and instead manipulates others by exploiting their desires, fears, and weaknesses. Members of both the Rats in the House of the Dead and the Decay of the Angel are treated as expendable pawns. He has repeatedly betrayed allies once they outlived their usefulness, demonstrating that his loyalty extends only to his ultimate goal.

Fyodor orchestrated multiple large-scale conflicts by manipulating key figures from behind the scenes. Notably, he deceived Ōchi Fukuchi by fabricating a future global war scenario, pushing him to initiate a worldwide terrorist plan. Even as events escalated, Fyodor maintained control from the shadows, ensuring that every outcome aligned with his design.

His interactions with Dazai Osamu are particularly significant, as both recognize each other as intellectual equals. Their rivalry is less about direct confrontation and more about strategic warfare, with each attempting to outmaneuver the other through complex, long-term schemes.

Ability

Main article: Crime and Punishment

Crime and Punishment (罪と罰) is a highly abnormal and dangerous ability. Its core function allows Fyodor to take over the body of the person who kills him, effectively replacing them entirely with himself. The original personality, identity, and physical traits are erased, and the body becomes a complete continuation of Fyodor.

This ability grants him a form of pseudo-immortality, as he can continue existing across different bodies over long periods of time. Through memories observed by Sigma, it is implied that Fyodor has existed for centuries, repeatedly transferring himself through others.

The activation condition is precise: Fyodor must be killed by another individual. The ability then triggers automatically, transferring his consciousness into the killer. This can also apply indirectly—if someone is killed through another’s ability or control, the “true killer” becomes the target of the transfer.

This mechanism also allows Fyodor to use death strategically, effectively “teleporting” by arranging for himself to be killed in one location and taking over a target elsewhere. He has demonstrated the use of coordinated setups, such as snipers, to trigger his ability under controlled conditions.

However, the ability has limitations. There is a brief interval during which the takeover process occurs. If the target body is destroyed or the host dies before the transfer completes, the process can fail. Additionally, Fyodor does not inherit the abilities of the body he takes; those abilities cease functioning with the original user.

Uniquely, during the fog incident caused by Tatsuhiko Shibusawa, Fyodor’s ability did not separate from him like others. Instead, it identified itself as the “punishment” to his “crime,” implying a fundamental unity between user and ability that prevents them from being divided.

Overall, Fyodor is a calculating, self-serving strategist whose actions are guided by a rigid, almost religious worldview. He does not seek power for its own sake, but rather the complete restructuring of the world according to his definition of purity—regardless of the cost.

Nikolai Gogol

GENDER Male

BIRTHDAY April 1

AGE 26

HEIGHT 184 cm (6’0”)

WEIGHT 68 kg

BLOOD TYPE B

LIKES Magic, performance, surprised faces, quizzes, piroshki

DISLIKES Brainwashing, servitude, lack of freedom

ABILITY The Overcoat

REFERENCE The Overcoat (short story by Nikolai Gogol)

OCCUPATION Decay of the Angel member (former)

AFFILIATION Decay of the Angel (former)

⸻

Gogol is a tall, slender man with sharp, layered white hair swept to the left side of his face. Despite its apparent length, a long braid extends from the back and typically rests over his right shoulder. A distinct vertical scar runs down his left eye. His heterochromatic gaze is striking—his left eye appears expressive, while his right eye is notably dull and lacks highlights, giving it an almost lifeless appearance.

He wears a card-shaped eye patch over his right eye, reinforcing his theatrical aesthetic. His outfit resembles that of a circus ringmaster: a black asymmetrical coat (one side solid black), black-and-white striped trousers, gloves, and a ruffled high-collar shirt. He completes the look with a patterned top hat, emphasizing his performer-like identity.

⸻

Gogol is highly theatrical, sadistic, and unpredictable, often treating life-and-death situations as performances. He frames many of his interactions as “quizzes,” turning even threats into games. His behavior reflects a deep obsession with freedom—he rejects control, structure, and any form of imposed identity.

Despite his cruelty, Gogol is not entirely devoid of self-awareness. He openly acknowledges the contradiction within himself: a part that feels guilt and understands morality, and another that commits atrocities without hesitation. Rather than resolving this conflict, he chooses to embrace it, viewing his actions as a way to test the limits of free will.

His ultimate goal is to become truly free—unbound even by his own emotions. To achieve this, he attempts to sever his attachment to others, most notably by orchestrating situations involving Fyodor Dostoevsky, whom he both follows and seeks to detach from. His actions toward Fyodor suggest that he views even personal bonds as chains that must be broken.

Gogol often displays a playful and eccentric demeanor, but beneath it lies a calculated and dangerous individual capable of long-term planning and psychological manipulation. He is also highly skilled in deception, maintaining disguises for extended periods without detection.

⸻

Ability

Main article: The Overcoat

The Overcoat (外套, Gaitō) allows Gogol to manipulate space using his coat, effectively turning it into a portal system. He can connect two separate points in space, enabling instantaneous transfer of objects or body parts between locations.

This ability functions both as: • Spatial teleportation — allowing him to attack from unpredictable angles • Storage dimension — enabling him to keep objects within his coat

He can apply this ability to living beings, as demonstrated when he “severed” a limb without physically damaging it—relocating it in space while maintaining its connection to the body. Victims still retain sensation, making it both physically and psychologically disorienting.

The effective range of this ability extends to approximately 30 meters.

⸻

Skills

Disguise Gogol is highly proficient in disguise and infiltration. He successfully impersonated a police officer to approach targets unnoticed and maintained a long-term cover as a secretary for months without raising suspicion.

Combat Style His fighting style is erratic and unconventional, combining spatial manipulation with psychological pressure. He enjoys prolonging encounters to maximize emotional impact on his opponent.

⸻

Overall, Gogol embodies chaos driven by philosophy—someone who turns freedom into both an experiment and a justification for cruelty, blurring the line between performance and genuine identity.