Nikolai Gogol, a former member of the antagonistic Decay of the Angel, joined the organization seeking absolute freedom, defined as liberation from moral constraints and emotional burdens. His striking appearance features layered white hair swept left, a long braid resting on his right shoulder, and a vertical scar over his bluish-grey left eye. His often vacant right eye is typically concealed by a card-styled eyepatch or mask. He adorns himself in a flamboyant ringmaster-inspired ensemble: a black-and-white jacket, striped trousers, a ruffled collar shirt, dark gloves, and a diamond-patterned top hat. He possesses significant skill in disguise, evidenced by his successful six-month impersonations of a police officer and Vice Minister Tonan's secretary. Gogol's personality blends theatricality, sadism, and internal conflict. He frequently poses rhetorical "quizzes" and takes palpable joy in tormenting opponents, exemplified by his capture and mutilation of Atsushi Nakajima. He acknowledges two warring selves within his psyche: one remorselessly violent and another guilt-ridden, aware of his actions' cruelty. He envies birds for their unrestricted movement, viewing human morality as a cage. While his flamboyant demeanor may be a deliberate facade, both his cruel and empathetic sides manifest authentically. He maintains a seemingly amicable relationship with Fyodor Dostoevsky, nicknamed "Dostoy," though their dynamic involves mutual manipulation. Following Fyodor's apparent death, Gogol experiences confusion over his conflicting desires for Fyodor's demise and survival, revealing underlying emotional vulnerability. His ability, The Overcoat, manipulates space within a 30-meter radius. He transports objects or people through his cape, capable of selectively relocating body parts – such as severing Atsushi's leg and isolating it elsewhere. The ability also facilitates large-scale object displacement and tactical repositioning during combat. Gogol's backstory centers on an obsessive pursuit of freedom from societal and psychological constraints. He perceives human consciousness and morality as artificial constructs inhibiting true liberty. In confrontations, he rationalizes murder as both entertainment and a symbolic rejection of these constraints, claiming victims die more peacefully if believing him an "inhuman monster." He frames the Armed Detective Agency as terrorists to advance the Decay of the Angel's goals, viewing their involvement in grand-scale evil as a path to transcendence. His ideological struggle crystallizes in his declaration that breaking free from the "prison" of morality justifies assisting pure evil. Despite yearning for emotionless freedom, his actions and reactions confirm persistent human feelings, creating a paradox where his desire for liberation itself becomes a form of bondage.