Information.
Character → Wolfgang Amadeus Mozart
Canon → Afterschool Charisma
Timeline → During chapter six | After his lesson with his tutor and before he encounters Shiro and Hitler
Age → Appears about seventeen
Gender → Male
Sexual Orientation → Mozartsexual
Eye color → Blue
Hair color → Blond
Height → Slightly taller than average
Other → Nothing~
Clothing → Mozart | St. Kleio Uniform
Background → Mozart's history, as is with most of the clones, is unknown. They have no family and call St. Kleio Academy home. There, they are gently groomed to become perfect clones of the one the were modeled after. Each clone spends extensive time learning about the person they are replicated to become but even so, some find themselves unsatisfied with their predestined life and wish for something different. Mozart first appears during physical examinations where it is revealed how he toyed with one such unsatisfied clone, Marie Curie.
Marie Curie is frustrated by her expected fate when all she desires is to play the piano. She asks Mozart for piano lessons but he rejects outright. She continues confronts him numerous times and finally listens to her request out of irritation. He tells her to help herself to his sheet music and throws it out of a window while keeping a single sheet to himself. Mozart rejects Marie Curie's request for piano lessons because he believes only he can produce musical masterpieces. Marie Curie's fate is for science, not music. Marie Curie's pure desire to learn music cannot sway Mozart. He does not compose music because he wants to; as Mozart's clone, he believes he must. Nor does he appreciate musical enthusiasm in others. Marie Curie's multiple attempts asking him demonstrates that he initially ignores inconveniences and how he ultimately deals with them. When he agrees to help her, it's not out of the goodness of his heart but irritation. His way of "helping" her is to inconvenience her in the hopes she'll give up.
Still worse, Mozart reminiscences upon the memory condescendingly and praises her efforts sarcastically, musing that as Marie Curie's clone, she should have her nose in science rather than music. When Shiro asks about Marie Curie's lessons with Mozart, Mozart laughs in his face, just as he laughed in Marie Curie's face previously. Shiro grabs Mozart and yells at him, but Mozart only tells him to let go. When Shiro doesn't, he throws Shiro down violently and lashes out that Shiro, as an insignificant human, has no right to touch him. Mozart promptly leaves, slamming the door behind him.
Shiro later challenges Mozart to fencing for what he said about Marie Curie. If he wins, he wants Mozart to apologize. Mozart brushes off the challenge, sighing and turning away. Shiro grabs Mozart's shoulder, again throwing Mozart into a fit. He calls Shiro an "eyesore" and stipulates that if he wins the fencing match that Shiro must stay out of his sight. Mozart says that for their challenge, they can dispense of the scoring system so that Shiro has a fighting chance, but it is more likely that Mozart wants to crush Shiro completely and utterly without disruption. Shiro only has to land a single hit on him. He ruthlessly attacks Shiro, meanwhile laughing and taunting as he overpowers him. He pushes Shiro so hard that he falls back and the tip of his fencing sword pokes Mozart's face. Mozart declares that Shiro is dead and begins to kick him violently. Shiro's friends Ikkyu and Napoleon pull him off before Mozart is satisfied.
Mozart is next depicted in the presence of his tutor which explains all his frustrations. His tutor says that his music "sound dead" and that he looks horrible as well. Mozart dismisses it as lack of sleep and says he will continue to work hard for the school expo which shows the dedication he puts into his worth as Mozart's clone. He asks about Marie Curie, a sensitive side that is rarely shown, to which his instructor responds vaguely. This is the first hint to Mozart that clones are replaceable.
Afterward he sees Shiro and Hitler and mocks Shiro like he usually does. Shiro lectures him and Hitler suggests that Mozart pray to Dolly, a constructed religious cult based upon the first successfully cloned creature, a sheep named Dolly. The cult members carry around key-chains of a sheep which Shiro happens to be holding at the time, and Mozart smacks it out of his hand onto the ground. He steps on it and grinds his food into it until the head pops from the body, and then he laughs. After staring at the poor sheep plushie, Shiro declares that Mozart is pitiful. Mozart responds that Shiro doesn't understand himself and that he will truly show Shiro what it is like to be a clone.
He tells Shiro to come to his room in the middle of the night. Shiro arrives with Hitler only to find Mozart hung in his room. Mozart's suicide is ultimately a failure. As he rests in recovery, Hitler places the Dolly he crushed on his person.
When Mozart regains consciousness, Shiro is put in charge of monitoring him to make sure he doesn't make another suicide attempt. Mozart doesn't tell Shiro to leave his presence as he would have in the past, perhaps because he realizes it doesn't make a difference. His newfound apathy is apparent from the very first moment he is reintroduced, with distant staring which suggests a disconnect from life. He has not completely lost himself and throws the Dolly plushie that Hitler placed on him against the wall. Mozart still doesn't believe in Dolly's powers and will not have anything to do with it. It suggests the only the feeling which remain in him: angry bitterness. Shiro escorts him back to his room, completely fixed from the mess he left it in. It is as if nothing has happened despite his psychological revolution and he collapses on the bed, declaring, "Mozart is dead". He follows next is an irrational laughter that will soon become his trademark trait.
Mozart then insists on seeing the Dolly ritual and demands Shiro take him there. He is welcomed by Rasputin but rudely laughs at the gathering. His demand to see the ritual implies that he deliberately chose to go there just to laugh at them. Hitler lectures him for laughing in their faces because he believes Mozart has been liberated from his fate while the rest of the clones still await their destiny. Mozart, who doesn't share their beliefs anyway, laughs because their faith is pointless and, as a result, simply ignores Hitler's scolding. Shiro pulls him away and Mozart yells that he stops touching him, perhaps the first signal Mozart hasn't completely severed ties with who he once was. Touching, especially from a human, still bothers him greatly. Other things, like Shiro's presence, he simply doesn't care about because it doesn't matter. Shiro asks why he laughed to which Mozart responds by simply stating it was funny. It seems that Mozart's sense of humor shifts into a dark comedy akin to watching birds with clipped wings try to fly. This would suggest that he believes clones can't escape their fate, as the Dolly cult would like to liberate themselves from. Shiro follows him to his room where Mozart stops him from entering. He still retains a degree of privacy when he's not supposed to. Whereas he would probably have followed the rules in the past, it shows how indifferent he's become to authority and expectations.
He finally reunites with his fellow students the day before the school expo. Shiro is still in charge of following Mozart who sighs and ignores what he has to say msot of the time. Shiro points out some students rehearsing music for the expo and Mozart quickly walks past it. It seems that he wishes to avoid music. Indeed, Napoleon asks why he isn't practicing piano for the expo and his finger twitches, significant as flinching away from what he used to treasure. He says that being Mozart's clone is useless which everybody is shocked to hear except for Florence Nightingale. She says that it only means Mozart can continue playing when he feels like it. Mozart doesn't respond to her suggestion and remains quiet for the majority of the conversation. Whereas he used to be the center of absolutely everything when involved, he no longer sees the need be the constant focus of attention.
With nothing to do, Mozart and Shiro meander around the expo until they see Freud. Shiro kidnaps him as well and takes them to see Pandora, Rockswell's, the school president's, "daughter". They play shop, something the sheltered students at St. Kleio's have never done. It should be noted that most daily routines are supplied by the school and the clones therefore have no knowledge of living functions. Rockswell interrupts and immediately says hello to Mozart by swinging him in the air and knocking the air out of him. The other clones run from Rockswell at any given chance and Mozart is of no exception, if the option were available. Another unexpected guest, Kai, arrives and he looks and behaves exactly like Shiro. He calls out to Pandora, revealing that she is actually a younger clone of Marie Curie. It's revealed through a flashback that Mozart immediately deduces that they must be clones. Kai explains that he is a clone although he doesn't know who he is a clone of which shocks the trio, including Mozart. A few differences remain between Kai and Shiro, namely the issue that Shiro has a father and has been brought up as a human unlike Kai.
After they leave the room, Mozart proudly "welcomes" Shiro to the clone world. His tune immediately changes. He says that he and Shiro are friends and even willingly wraps his arms around him. He returns somewhat to the dramatic Mozart, perhaps even more dramatic as he thickly lays on the taunts. Freud tells Mozart not to assume things prematurely but Mozart explains why it is obvious: Shiro is at a school for clones and the man they've just met appears to be an older clone of Shiro. Shiro's disillussionment becomes a source of humor to him and he insists on quickly confronting the situation for his entertainment. It appears that he wants to see Shiro break just like he did, similar to this laughter break out at the Dolly ritual.
Mozart pulls Shiro toward his father's office so that they can ask the direct source but the expo party is still ongoing. Shiro decides he doesn't want to wait for the party to finish and would rather confront his father later. Mozart returns to the dorms with him amicably, all the while laughing at Shiro's expense. Joan of Arc is waiting for them outside. Shiro leaves, in shock, and Mozart taunts him yet again. He and Joan are left alone and she asks him if his fate changed after his suicide attempt. Mozart explains that it doesn't matter because they're easily replaceable as clones and leaves her before she can ask anything more. Because Joan bores him because she tries to change her fate, something he says suits her. However he has no interest in such things, never appearing even during the preparation for her symbolic death. Shiro, however, amuses him because belives the realization of being a clone will devastate him. He quickly leaves for his room.
The next day, Mozart greets Shiro by saying he looks awful and announces that he couldn't sleep at all because he was thinking about Shiro's situation. This demonstrates the satisfaction he gets from watching others experience the despair he felt. He even holds Shiro willingly during this time, intimacy now his form of taunting. With Marie Curie's clone in tow, they head to Shiro's father's office for an explanation. Shiro's father escorts and leaves the three locked in a room for their safety. Shiro's dad asks them for the Dolly key-chains which they hand over and remain down there while the expo presentation go on. Shiro attempts to find a way out of the room but Mozart tells him it's no use. He is realistic, frank, and unhopeful even in such situations.
After being locked up for awhile, Shiro begins to cry and think that he is to blame for what happened to Marie Curie he knew at the beginning of the series. Pandora, also Marie Curie's clone, tells him not to cry because she's there for him. Mozart laughs wildly and proclaims that she is right. Once his laughter dies down, his says with a distant gaze that beign a clone is a pain and he wished they'd let him die. Immediately after, Rockswell enters and announces Shiro's duty is to watch the events of what happen. While the three have been locked downstairs, the expo has thrown into chaos by an explosion and armed violence of graduated clones trying to kill any other clones.
Personality → Unlike other clones who doubt if they were meant to fill the shoes of an infamous predecessor, Mozart embraces it completely. He is the prize spectacle at the yearly school expo and if that's not enough, he has the ego and nerve to back it up. Not only does he think he is God's gift to the musical community, he speaks down upon others to their face or will tell them to shut up without thinking twice. Mozart takes it a step further than pride, he's downright egotistical and elitist. Born as a clone into Mozart's shoes, he feels entitled to all the praise and worth of the great Mozart.
Early in the canon, Mozart invests heavily in his worth as a clone. He points out that without the defining traits of their "original", clones are nothing. He views himself as the original Mozart's second chance at life. He is not merely "another", he truly believes himself to be the Mozart. Because he believes clones are extensions of the person they're replicated from, he believes that clones are naturally superior to humans. As extensions, clones should theoretically achieve the same success as the human they were replicated from. He ignores the fact clones are initially created from humans who achieved that success from their own hard work. Mozart isn't subtle about his preference for clones over humans; he voices his opinion strongly and feels disgusted when a human so much as touches him, though this goes for pretty much everybody.
At a first glance, Mozart speaks politely and carries himself with proper manners but what lies beneath is a sharp tongued braggart. Though his speech is cultivated, he speaks arrogantly and condescendingly. He views himself above others, and will say so cordially with all the grace and composure of royalty. He calls Shiro a "gnat" and tells him to learn his place throughout the course of the canon. Even to Ikkyu and Napoleon whom he has nothing against, he says they will become mediocre if they continue to hang around Shiro. Mozart has the tenancy to laugh in the faces of others, a trait that remains no matter how erratic he becomes. At first it is a pompous laugh but later it becomes an unstable one. He considers anything that defies him stupid or imbecilic and will often laugh at that, too.
What Mozart doesn't say is almost as important as what he does say. In quite a few cases, it's simply because he refuses to answer. This happens when Freud points out how easily he was irritated by Shiro. Often when he doesn't like where a conversation is heading or the answer he is expected to give, he'll move on without answering. His elitist habit of dismissing others without giving them a chance is also to blame. In such cases, he tends to turn his back early without even addressing them, as he does to Marie Curie and Shiro. He believes Marie should have stayed true to her original's calling and he tells Shiro that he is a worthless human. He later calls them a "perfect couple, Mr. Nobody and Miss Failure". In other cases, Mozart lies to conceal his most personal feelings when he doesn't want to respond. His piano instructor notices that something is wrong with him but he dismisses it as lack of sleep. Again he does this after his suicide attempt: Shiro asks what he meant by showing what being a clone is really like, and Mozart says that he doesn't remember.
Whether in actions or words, Mozart takes things too far. He's too proud to give anybody else the time of day and regularly sighs dramatically and ignore them. However if touched, he will immediately lash out against the person who dared pull a finger on him and thus easily resorts to violence. A light tap on the shoulder will earn a forceful push or slap. His composure instantly melts and all that is left is rage fueled by his pride. He also channels his frustration into violence. In fact, every appearance Mozart makes ends in violence: the first time he sees Shiro in the canon, their meeting ends with Mozart pushing him onto the ground, shouting, and slamming the door; the second time, Mozart brutally beats Shiro and leaves; and later he destroys his room, starting with his failed composition and piano. What is important to keep in mind about Mozart's hyper-violence is that he will destroy until he feels satisfied, ignoring the condition of the person he's hurting.
Mozart is fueled by impulsive, impulse, and impulse. He always says or does the first thing that comes to mind and hardly seems to regret his decisions or even think upon them. Moreover, his middle name is drama. When Mozart does something, he does it completely. Combined with his violent nature, he comes off as extremely harsh. Mozart has high expectations of others to measure up to him and laughs when they do not. Indeed, he pushes everything to the extreme. Whether simply appearing or creating a scene during a fitness exam, Mozart is the star of the stage. His long, wavy hair should be the first clue, hinting at his flamboyant nature. He knows he's the main spectacle of the school expo and in everything else. He becomes jealous when he is unwelcomed; when Shiro's father asks for Shiro to come forward, he appears to be moody until he is welcomed as well. The sensitive Mozart is rare but exists nonetheless, such as when he wonders about the fate Marie Curie has suffered.
Mozart is a realist. His observations are very frank and his connections are reasonable. Nothing he says is too out of the ordinary to be unbelievable and he doesn't hope for unattainable dreams. For example, Mozart's reason for valuing clones above humans is a discriminatory but obvious deduction if surrounded by like clones and the only average is a human; again, his reasoning for believing Shiro to be a clone is simple and obvious; finally, he knows that there's no use trying to find a way out when Shiro's dad locks them up and suggests Shiro give up on finding an exit. His weakness is not in his observations but in how he acts upon them. He jumps to conclusions recklessly and dramatically, and then follows the most destructive path. Mozart becomes quite hopeless whenever he finds himself in a bad situation and resorts to the path with minimal effort. For example, he becomes suicidal when the pressure of living up to Mozart's name becomes too much or how he simply rests and tells Shiro not to bother when they are locked up. He has a tenancy to complain no matter what the situation.
Although Mozart appears overly confident, he is quite temperamental and driven by his delicate insecurities. Even though he is highly talented, the pressure of living up to Mozart is daunting. His ego does not go without work and he pushes himself to live up to expectations. Mozart is apparently not the genius his original was though he works hard to be considered such. His instructor tells him that his music sounds dead and he shreds his failed compositions after the fencing duel. His frustration appears to have a long history and the breaking point comes when Shiro announces that he is the same as the clones. Shiro is different from the clones who have much expected from them, especially Mozart who is the pride of the school.
As a result of his ego, Mozart is highly independent. He always chooses what he wants to do without any consideration for other parties. When Shiro suggests Mozart and Freud play shop with Pandora, Mozart replies that he doesn't want to because there aren't any items he would like to purchase. He is highly self-centered and will say or do anything that pleases him without thinking about who he might be hurting in the process, part of the reason he can so easily speak down to others. His independence leads him to take it upon himself to empancipate himself, such as his suicide attempt, rather than forging group efforts to help his problems, such as the Dolly cult group. Mozart is private and doesn't care much for the company of others. He rejects others that come to him: he stops Shiro from invading the privacy of his room when Shiro is instructed to stay by his side after his suicide attempt, and he cuts short his conversation with Joan when she asks him how his fate changed after his suicide attempt.
Mozart drives himself to suicide mostly because of the pressure expected from clones. He quits playing piano and writing symphonies after his suicide attempt, even forgetting the school expo. Mozart's suicide attempt suggests that he perhaps never intended to kill himself. He tells Shiro what time to come by his room and his method of suicide is one that won't harm his hands.
When Mozart regains consciousness, he says that "there's no escape" which could mean a few things: that a clone cannot escape the fate of becoming like their original (Mozart must compose music or else he will be useless) or that there is no escape for a clone from their original's fate (he tried committing suicide while the original Mozart died of illness). The cult of Dolly believes that through a symbolic death, a clone breaks free from the destiny of their original. Mozart's symbolic death, though different from that of his original's, may be a kind of example to show that a clone cannot break free from the original. If his death is meant to be symbolic, then his attempt was not at suicide at all. However Mozart doesn't believe in Dolly's protection. If anything, his suicide attempt was to spite the cult of Dolly to prove that no such Dolly existed, or if his aim was not really suicide, that he alone can change his destiny, not some deity. Mozart says that defying fate suits Joan of Arc and thus it's unlikely that his intent of committing suicide was to defy his "fate". Mozart is so egotistical that he probably never considered this at all. Another possibility exists that Mozart merely wanted to prove that nobody cared why he tried to kill himself.
Mozart's personality shift occurs after his failed attempt to commit suicide by hanging himself. His personality changes from outspoken to silent and his underlying violence becomes obviously unstable. He rarely speaks when he first wakes up and appears to be in a constant daze. Mozart even changes physically, choosing to wear his uniform jacket on his shoulders instead of how he used to wear it properly and forced to wear bandages around his neck. Still, most things remain the same. He refuses to follow, always choosing to lead, even after his fall from grace. When Shiro is put in charge of watching Mozart to ensure he doesn't attempt suicide again, he leads Shiro wherever he wants to go rather than letting Shiro decide what to do. He laughs more often but it is a broken, dark laughter.
During the meeting with Rockswell, he laughs manically when Pandora turns out to be Marie Curie. It occurs to him that he is not the clone of Mozart, but a clone of Mozart and thus completely replaceable. Impulsive as he was before his suicide, he announces that Shiro must also be a clone. He is not crushed by a sudden feeling of insignificance. Instead he laughs at Shiro, who thought it was different and special all this time.
Mozart is a realist. His observations are very frank and his connections are reasonable. Nothing he says is too out of the ordinary to be unbelievable. For example, his reasoning for believing Shiro to be a clone is simple and obvious. He knows that there's no use trying to find a way out when Shiro's dad locks them up.
Abilities → As Mozart's clone, he was trained to play all of Mozart's masterpieces as well as compose. He is very adept at fencing. He's classy like that.
Affection → Any touching is highly discouraged. He will rage and throw fits and destroy pianos and you don't want that. 8( That being said, it would be hard to go anywhere without touching, no? Please contact me if you have something in mind.
Fighting → Mozart is a hot head who will get in a fight if he feels threatened, even a touch can provoke him. In non-violent fighting, such as fencing, he's very good. Generally he agrees to fights if he's annoyed and wants the person to go away.
Other permissions → Telepaths can read his mind easily though it might be a lot of contradiction and despair so please contact me if you wish to do so, so that I can tell you what exactly he's thinking. Don't fourthwall break but he'd probably laugh at it since he's jaded enough to the whole cloning thing. Speaking about anything is free game.
Other → Can't beat my, can't beat my, no you can't beat my Mozart rage~