Fyodor Dostoevsky

The relationship with Sigma is perhaps the most difficult and tragic chapter for Dostoevsky, because here he played the role of a creator who did not understand his own creation.

Born for a Plan: Sigma was created from the mystical "Book" by Dostoevsky to operate the Celestial Casino—a gigantic trap for collecting information and exchanging abilities. He was literally "born" as an adult without a past, with only one desperate desire, implanted in him by Fyodor himself—to find a home and a purpose.
Cruel manipulation of emotions: Dostoevsky skillfully played on this existential emptiness. He promised Sigma a family and a place where he would be welcomed, creating the illusion of care. For Sigma, who knew nothing but the casino, Fyodor was his only link to the world.
· Epiphany and Betrayal: Sigma's tragedy is that he was programmed from the start to betray (or, rather, to make the inevitable choice). Realizing that Dostoevsky was using him merely as a cog in his machine and never saw him as a living soul, Sigma makes his first independent choice. He aids the Detective Agency and attempts to save Dazai at the cost of his own life, effectively dying while attempting to extract information from Fyodor's memory.
The Messiah's Collapse: This loss is perhaps the only thing that revealed Dostoevsky's limitations. He created man to be a perfect cog, but implanted within him a longing for home, and thus the germ of free will. Sigma chose "his home" not with Fyodor, but among people who risked their lives for each other. For Dostoevsky, this became a silent but resounding condemnation of his misanthropic philosophy.

Goncharov is the most silent and submissive member of the organization, whose presence creates an oppressive atmosphere. His connection with Dostoevsky is based on absolute submission and the complete dissolution of his own will.

· Oblomov's Ability: It perfectly captures their dynamic. Goncharov creates a field of apathy around himself, causing his opponents to lose the will to fight. Similarly, he himself seems completely devoid of his own ambitions, becoming a weak-willed extension of Dostoevsky's will.
Silent obedience: Goncharov asks no questions and doesn't engage in philosophical conversations. He is the ideal servant, silently carrying out any task, be it protection or elimination. Dostoevsky doesn't need to expend energy manipulating him—it's as if Goncharov has accepted the dogma of his divine rightness and serves him as a monk serves God.
· Contrast with Gogol: Goncharov is a shadow, devoid of self, while Gogol was a blinding flash of egocentric rebellion. Dostoevsky valued Goncharov precisely for this guaranteed reliability—a mechanism that would not fail or stab you in the back for higher ideological reasons.

Unlike his complex love-hate relationship with Gogol, Dostoevsky treats Pushkin with a frank, almost disdainful pragmatism. In "Rats," Pushkin is a grotesque clown, devoid of philosophical depth, who enjoys chaos for its own sake.

A tool, not a comrade: Dostoevsky keeps Pushkin solely for his unique ability, "Feast in Time of Plague." This virus can infect espers, causing them to go mad and attack their allies. It's the perfect tool for provocation and sabotage.
· The object of ridicule and threats: Fyodor makes no secret of his intellectual superiority. In the scene where Pushkin, wounded, lies on the floor complaining about his life, Dostoevsky, with his ever-present gentle smile, quite seriously offers him "help in leaving this world." This is no joke—he sees Pushkin as nothing more than a disposable commodity, one he won't mind discarding when he's no longer useful.
· A performer without ideas: If Gogol delighted Dostoevsky with his madness, Pushkin irritates him with his primitiveness. Dostoevsky is disgusted by his petty malice, but he tolerates it as long as the virus-like ability serves his grand plan to purify the world.

They are perfect antagonists, their beliefs diametrically opposed. Dostoevsky sees espers as a "sin" that must be erased in the name of divine order. Dazai, who endured the darkness of the Port Mafia and found light in the Detective Agency, defends this world despite its chaos and pain. Their struggle is a clash of ideologies: a manic desire for purification versus an acceptance of the imperfections of existence.
Despite their opposing goals, they are eerily similar. Both are master manipulators, calculating the game a hundred moves ahead. Both wear masks: Dostoevsky that of a gentle messiah, Dazai that of a frivolous jester. And most importantly, each is perhaps the only person capable of truly understanding the other's motives and logic. This creates a strange, almost intimate form of respect between them, devoid of any warm feelings.
The quintessence of their relationship was their confinement in the same cell at Meursault Special Prison. On the surface, it resembled the leisure time of two old acquaintances. They used the prison's intercom to remotely manipulate events outside, turning the lives of real people into board game pieces.

A Cruel Game: Sitting on their bunks, they steered others' fates toward destruction or salvation. Dostoevsky, smiling, called it "entertainment." Dazai, knowing that every mistake led to the death of his colleagues, accepted these rules because it was the only way to win.
· Exchanging threats: Their dialogues in the cell are the height of hypocritical politeness and mutual venom. For example, Dazai expressed a desire to strangle Fyodor with his own hands, and Fyodor meekly replied that "God will not forgive," hinting at his own lethal ability.
Their final battle is a triumph of how to destroy an enemy without ever touching them. Dazai defeated Dostoevsky with his own weapon—the betrayal of his closest ally. He harnessed Gogol's insane philosophy of freedom, pitting two members of the Rats against each other. Dazai realized that the only way to disrupt Fyodor's perfect plan was to introduce chaos into the equation.

Nikolai Gogol is the embodiment of chaos and eccentricity. He wears a jester's mask, speaks in riddles, and adores theatrical effects. He addresses Dostoevsky familiarly—"Fedya" (Fedenka), "Dost-kun"—which would be unthinkable to anyone else. From the outside, they seem like close friends or accomplices, bound by a deep understanding.
Gogol sincerely admires Dostoevsky's intellect, considering him a man capable of "rewriting the world." He sees him not just as a leader, but as a kindred spirit, capable of appreciating his own madness.
Gogol calls Dostoevsky his "one and only, my dearest friend." However, his understanding of friendship is distorted to the point of absoluteness. For Gogol, true friendship is complete liberation from bondage, which, in his opinion, can only be achieved through death at the hands of one's closest loved one.
Their tandem conceals a fundamental conflict. Dostoevsky wants to cleanse the world of sin (espers) with the Book, imposing his own order on it. Gogol, on the other hand, strives for absolute, total freedom from any order, morality, and even his own personality. Fyodor is a dictator of divine will, while Gogol is a lone anarchist.
The culmination of their relationship is the arc at the Celestial Casino and the events that follow. Gogol commits a monumental betrayal: he allies with Dazai to assassinate Dostoevsky.
Why? Because, according to Gogol's twisted logic, killing his "best friend" was the only way to prove he was free of all attachments, feelings, and even his very soul. He wanted to become "an absolutely free man," for whom even the life of his most beloved being meant nothing. He needed Dostoevsky precisely as the closest person, so that by stepping over him, he could prove his freedom.
Ultimately, their relationship is a shining example of how keeping a madman close to you is both profitable and deadly.

Fyodor lived in Russia in the 19th and 20th centuries (he lives a very long time thanks to his ability to be reborn). One day, he met a boy named Nikolai Gogol. They were completely different: Fyodor was calm and quiet, while Nikolai was energetic and cheerful. They became friends and spent a lot of time together.
One day, Kolya told Fyodor about his dream of freedom. In his village, all the inhabitants, including Nikolai, were controlled by a priest with his ability. Nikolai didn't like this; he wanted to decide for himself and not belong to anyone. Fyodor (like Kolya) considered Nikolai his only and best friend, so he decided to help him. They gained the priest's trust and, using their then-current ability (Fyodor could poison or heal people with his blood. He and Nikolai mixed his blood into wine and made everyone who came to church drink it), they killed the priest and the others. Ultimately, the entire village died, freeing itself.
But Nikolai... he also drank that wine and died in Fyodor’s arms.
After this, Fyodor hated the espers and decided to destroy them all, cleansing the world with the "Book." And then... then, with the help of this "Book," he would revive Nikolai so that they could live together in the free world that Kolya dreamed of.
(But Kolya, with whom Fyodor was friends, will be reborn in a couple of centuries as that same Nikolai, and now he and Fyodor are together again).

(Fedor's diary)
Dear Kolya, several months have passed and no one has yet suspected us. Thanks to the measures I took, everything went quite smoothly. …Although I'm not sure "luck" is the right word for what happened.
Yes, the last part of my plan was to test you. I wanted to understand whether you possessed the courage and uniqueness I spoke of, whether you could put aside your feelings of guilt for the sake of your ideals. But you understood my intentions and exceeded all my expectations. Kolya... you are more than just a common sinner.
My only mistake was imagining my future with you. I wanted us to become partners in a major crime and fix this world together…
I won't let myself think about something like that anymore. Affection. Friendship. Love... these are things that special people can't afford, and don't need. This is a burden I must bear alone.
and no matter how guilty I feel, I still don’t regret what I did... - because I understand you, Kolya.
Your last words got me thinking... I noticed that the ability appears due to trauma, which means that those with the ability are initially doomed to suffer. As a result, they themselves will draw people into a vicious cycle, without realizing it. You were right; in a world where sinners possess something like this, there can be no freedom. Therefore...
I will find the Book. With its help, I can destroy sin and create a world without those with abilities. And after that, when the time comes, I will return you, Kolya. I will return you to a world where life will seem bliss... to a world where you can spread your wings... to a world... ...where we will be free.

Crime and Punishment Ability: This is an absolute defense that kills anyone who takes his life. This ability allows Fyodor to possess the body of the person who killed him and transform that person into a replica of Dostoevsky himself.
Interestingly, Dostoevsky cannot physically control this ability and never knows in what form it will manifest itself, but his faith in “divine providence” is so strong that he is not afraid to provoke his enemies to murder.

He is 175 cm tall, weighs 60 kg, has AB blood type, and is born on November 11th. His favorite type of people are those who "don't bring any benefits" (complex irony).
· Ideal Cellmate: In Meursault Prison, he shares a cell with Dazai. They not only engage in intellectual duels, but also play board games against other people's lives while locked in, demonstrating their remarkable ability to manipulate the outside world even while confined to their bunks.
"Rats": The name of his organization, "Rats in the House of the Dead," is a direct reference to Dostoevsky's novella "Notes from the House of the Dead." Interestingly, he delegates his "dirty work" to subordinates, remaining in the shadows.

Fedor was born in a village in Russia. He was the second child, with an older brother and three younger sisters. (Fedor was close to his sisters, spending time with them, and they trusted him to braid and comb their hair.) Fedor was a quiet, obedient, and calm child. He loved reading, playing chess, and all sorts of intellectual pursuits. Fedor was a very kind and empathetic child; he never refused anyone and helped everyone.

Of the entire family and village, Fyodor was the first esper. People perceived his ability as a message from God. They prayed to little Fyodor, telling him their problems and asking for help, believing that since he was "God's Messenger," he would fulfill everything. A ritual was performed in the church: they drank Fyodor's blood, mixing it with wine, and all their wishes were granted and illnesses disappeared. But Fyodor was losing blood from this. He lost weight, his vision blurred and darkened, his skin turned pale. He tried to explain to people that he was ill and could no longer give his blood, but they didn't listen and forcibly took his blood. In the end, the entire village drank it, not healed, but died. Everyone who drank the wine mixed with his blood. His family also perished.

· "Divine" framing of speech: Almost every phrase he utters refers to God in some way ("By God's will," "God has been merciful"). This is his habitual manner of speaking, behind which lies a cold calculation.
· Gentle Threat: He smiles and exudes gentleness, even when describing someone's painful death or the collapse of an entire organization. Talking to him is like going to confession, where the priest is the chief executioner.

· Espers (gifted ones). His primary irrational antipathy. He considers them not just criminals against nature, but a dirty, painful error in the universe, an insult to God.
Stupidity and chaos. Senseless, impulsive actions or primitive schemes evoke disgust in him. He loses interest in "useless" people if they cannot understand the depth of his plans.
· Dirt (literally and figuratively). Given his almost manic desire to cleanse the world, any form of sloppiness, blood, or moral depravity is disgusting to him.

Music and the cello. This is his main passion. In his rare moments of relaxation, he plays Bach or other somber, majestic works. For him, music is a way to communicate with God and bring order to chaos.
Books and intellect. Like his real-life counterpart, he adores classical literature, philosophical treatises, and theological texts. He especially enjoys complex, multi-move intellectual duels (especially with Dazai), which he perceives as a sophisticated game of chess.
Tea. He prefers black tea, often drinking it in moments of contemplation. It's his ritual, emphasizing calm and control. He apparently avoids alcohol, preferring absolute mental clarity.
· Order and rituals. He likes it when everything goes according to his plan. He likes people who can be neatly "arranged on a board."

Fyodor is Russian and heads a secret organization called "Rats in the House of the Dead," which operates in Eastern Europe. His main goal is to obtain the legendary "Book," which has the power to make anything written in it come true. With its help, he intends to wipe all espers from the face of the earth.

In the anime's plot, he first appears as an ally of the American organization "The Guild," which he secretly aids during the attack on Yokohama, pursuing his own interests. He later provokes a major crisis by unleashing a cannibalistic virus among espers to pit the Armed Detective Agency, the Port Mafia, and other factions against each other. As a result of this arc, he is captured and placed in a special prison for gifted individuals, where he shares a cell with Dazai.

Dostoevsky is a brilliant manipulator and strategist with delusions of grandeur. He is extremely calm, polite, and speaks softly, almost affectionately, but behind this mask lies a cruel and cynical mind, ready to make any sacrifice for his goal. He considers himself the chosen one, almost a messiah, destined to cleanse the world of "sin"—people possessing supernatural powers (espers). He sincerely, almost childishly, but mercilessly views all espers as sick sinners who must be destroyed.

He feels no affection for his accomplices, using them like chess pieces, and never displays true emotion. His intellect is comparable to that of Dazai Osamu, and their rivalry is often depicted as a game between two geniuses. At the same time, Dostoevsky is religious and often turns to God, justifying his actions with a higher will.

A young man with very pale, almost sickly skin and a thin build. He has medium-length black hair, usually slightly tousled, and deep violet eyes with a heavy, piercing gaze. Most often, a thin, polite, but cold smile is frozen on his face. Fyodor suffers from anemia.

Dostoevsky's attire is invariably elegant and somber: he wears a long black coat with a fur collar, usually draped over his shoulders, a white shirt, trousers, and maroon boots. His most recognizable accessory is his white fur hat with earflaps, which he almost never takes off. In several scenes, he appears with a cello, adding a refined melancholy to his image.

Fedor appears to be around 20 years old and a little older, but in fact, due to his ability, he is around 500 years old.