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From the very beginning of “The Overcoat,” the narrator sets a tone of dark humor. Instead of naming the department in which Akakievitch works, the narrator demurs. The narrator says that since all offices of the government are universally hated, it does not matter which department Akakievitch works for. This tone then colors the entire story. The narrator uses humor to describe Akakievitch’s naming at his birth, to describe Akakievitch's superiors and peers, and to describe Akakievitch himself. The narrator also talks about the ridiculous obsessions of Akakievitch’s fellow councillors, such as clothing and rank in society. The narrator paints a comical picture of the tailor, Petrovitch, saying Petrovitch’s mood is dependent on his level of drunkenness.

Despite its humor, the story at times possesses a deep sense of tragic realism. The events of Akakievitch’s life are reported dutifully and succinctly. As the story progresses, the humor of the situation lessens until Akakievitch loses his new overcoat. What was at first a simple story of gain and loss takes on a tragic tone. When the supernatural enters the story, it is never said explicitly that there is a ghost on the bridge; Gogol only notes that a dead man has been seen there accosting passersby. The tone shifts away from realism again, as a dead man cannot steal people’s overcoats. The tone is still somewhat comical, however, since the ghost is at last described as inhabiting the characteristics of the prominent personage. He acts proudly and frightens the police officer with his overbearing stature and demeanor. The comical tone returns to the story at its very end, but its realism has been completely drained away.

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