Entry tags:
Application.
Application for Clone Mozart at ![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png)
demeleier.
Player → Ria
Journal →![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
rimming
AIM → riatardedness
Character Number → NUMERO UNO, SENORITAS.
Character → Clone Mozart
Canon → Afterschool Charisma
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 of the original 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 Ikkyuu 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. 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 brushes it off saying 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 while ignoring 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 or his own psychological condition.
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 takes it too far. 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. 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.
He's a realist rather than an idealist. 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, sometimes making very painful and exaggerated -- but true -- remarks. He truly believes that he is the Mozart of the past because he has the talent to back it up. For example, Mozart's reason for valuing clones above humans is a discriminatory but obvious deduction if surrounded by superior skilled clones comparable to Shiro, the only human in the system. Again, his reasoning for believing Shiro to be a clone is simple and obvious, based solely on looks and simple but reasonable logic. 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. Where Mozart finds tension is in how he jumps to conclusions recklessly and dramatically, and then follows the most destructive path to those ends. 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 extremely high expectations, 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.
History → 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 figure 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.
He returns to his room, immediately thrown into a destroying rampage. He buries his face in his hands after shredding apart unsatisfactory sheet music and smashing his piano with a chair. These frustrations are addressed in the presence of his tutor: 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 truly cares about his fate beyond the assumption that he will live his life as Mozart.
Timeline → During chapter six | Right after he finishes his piano lesson with his tutor and before he meets up with Shiro and Hitler
Abilities → Mozart is a normalhuman clone so though he'd protest any mention of being average, he doesn't have any supernatural, magical, psychic, or otherworldly abilities.
Inventory → Just the clothes on his back!
Link to an image of the character → b/w panel | colored by moi There isn't an official color palette for him yet!
Prose Sample → The one thing Mozart realized once he arrived in Demeleier was that the branch tied around his head was scratching his forehead, not to mention ruffling his hair. Nearly reflexively he grabbed the wood around his head and snapped it off with a single crunch, thinking it no more than a twig. It was impossible that anybody had touched him in the moment he arrived but the proof was there. Somebody had touched him. Him. Mozart. Somebody had the gaul to touch him.
That thought alone was enough to hurl him into a frenzy of smashing the chips under his heel, huffing and roaring his frustration. He scratched out the remnants that remained in his hair and flung them down in a similar fashion. Who did they think they were to touch him? It was unfathomable!
By the time he realized what he was doing, only chips of bark crinkled under his boot. He dug his heel in a final time, rubbing the tiny chips until they refined into smooth dust. Even if he knew the significance behind the crown, he'd still have crushed it. He, Mozart, was above such things and even after waking up in a strange world, he would not believe anything other than the obvious: that he was kidnapped.
He'd been touched and kidnapped. Fancy that! Yes, it was obvious; so obvious that he couldn't restrain a low chuckle. This strange place... What other explanation was there? A quick glance to either side confirmed that he was alone. These kidnappers weren't much, he decided, though it was a slight assurance that nobody had seen that fit of his either.
"Truly," he murmured to himself, pausing to find the right word, "inept."
What did he care if the kidnappers didn't have the nerve to finish the job? Hmph, they probably rightfully saw how futile it would be to try to kidnap him! Now, the only thing to do was find a way back to St. Kleio Academy. He'd simply alert the nearest person that he was kidnapped; he was confident that once he told them who he was, they'd do as he demanded. These kidnappers would learn!
With that in mind, he tossed his hair over a shoulder and began to strut down the stairs. The weight tugging in his pocket caught his attention. With an aggitated huff, he reached in and snatched it out, plannign to crush it equally if it was a pile of rocks or similar nonsense.
It wasn't.
A...device. Of some kind. The clone could tell that much. He stared at it with great intensity. He wasn't the most familiar with computers but this... This wasn't even a computer. What on Earth was it?
Journal Sample → [A very dramatic and exasperated sigh immediately airs over the feed. Mozart is poking away at the options, muttering under his breath as he tries to figure out. He got the post a feed screen easy enough, now he's just trying to figure out what exactly he's supposed to be talking into.]
Is this on? This thing is absolutely ridiculous. Why, just like this place! Honestly, it's a cesspool. What a bother... Hmm... Ah!
[He clears his throat, assuming a more confident tone.]
I demand to be returned! You don't expect me to remain here, do you? [A pause. He can't help at least one good chuckle.] Ha! The mere thought of it is preposterous. I'm far too busy to deal with anything of the sort. You have a lot of nerve to abduct me, Mozart! If it's a performance you desire, I'm afraid you'll have to wait until the Expo. I'm quite busy and I simply don't have any time to spare on the likes of you!
Now, if you would be so good to direct me back to the academy, I shall be on my way. I can't imagine how distressed they must be to find my absence. You shall surely be punished for your actions. You ought to prepare yourself for the reprimands! What a shame that it had to be me you kidnapped.
[His tone changes to one more teasing, downright amused.]
Perhaps next time you would be so kind to kidnap Shiro! What harm will it be? It's not like he belongs at St. Kleio's anyway!
[And he lolololols until click!]
demeleier.Player → Ria
Journal →
rimmingAIM → riatardedness
Character Number → NUMERO UNO, SENORITAS.
Character → Clone Mozart
Canon → Afterschool Charisma
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 of the original 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 Ikkyuu 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. 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 brushes it off saying 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 while ignoring 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 or his own psychological condition.
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 takes it too far. 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. 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.
He's a realist rather than an idealist. 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, sometimes making very painful and exaggerated -- but true -- remarks. He truly believes that he is the Mozart of the past because he has the talent to back it up. For example, Mozart's reason for valuing clones above humans is a discriminatory but obvious deduction if surrounded by superior skilled clones comparable to Shiro, the only human in the system. Again, his reasoning for believing Shiro to be a clone is simple and obvious, based solely on looks and simple but reasonable logic. 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. Where Mozart finds tension is in how he jumps to conclusions recklessly and dramatically, and then follows the most destructive path to those ends. 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 extremely high expectations, 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.
History → 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 figure 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.
He returns to his room, immediately thrown into a destroying rampage. He buries his face in his hands after shredding apart unsatisfactory sheet music and smashing his piano with a chair. These frustrations are addressed in the presence of his tutor: 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 truly cares about his fate beyond the assumption that he will live his life as Mozart.
Timeline → During chapter six | Right after he finishes his piano lesson with his tutor and before he meets up with Shiro and Hitler
Abilities → Mozart is a normal
Inventory → Just the clothes on his back!
Link to an image of the character → b/w panel | colored by moi There isn't an official color palette for him yet!
Prose Sample → The one thing Mozart realized once he arrived in Demeleier was that the branch tied around his head was scratching his forehead, not to mention ruffling his hair. Nearly reflexively he grabbed the wood around his head and snapped it off with a single crunch, thinking it no more than a twig. It was impossible that anybody had touched him in the moment he arrived but the proof was there. Somebody had touched him. Him. Mozart. Somebody had the gaul to touch him.
That thought alone was enough to hurl him into a frenzy of smashing the chips under his heel, huffing and roaring his frustration. He scratched out the remnants that remained in his hair and flung them down in a similar fashion. Who did they think they were to touch him? It was unfathomable!
By the time he realized what he was doing, only chips of bark crinkled under his boot. He dug his heel in a final time, rubbing the tiny chips until they refined into smooth dust. Even if he knew the significance behind the crown, he'd still have crushed it. He, Mozart, was above such things and even after waking up in a strange world, he would not believe anything other than the obvious: that he was kidnapped.
He'd been touched and kidnapped. Fancy that! Yes, it was obvious; so obvious that he couldn't restrain a low chuckle. This strange place... What other explanation was there? A quick glance to either side confirmed that he was alone. These kidnappers weren't much, he decided, though it was a slight assurance that nobody had seen that fit of his either.
"Truly," he murmured to himself, pausing to find the right word, "inept."
What did he care if the kidnappers didn't have the nerve to finish the job? Hmph, they probably rightfully saw how futile it would be to try to kidnap him! Now, the only thing to do was find a way back to St. Kleio Academy. He'd simply alert the nearest person that he was kidnapped; he was confident that once he told them who he was, they'd do as he demanded. These kidnappers would learn!
With that in mind, he tossed his hair over a shoulder and began to strut down the stairs. The weight tugging in his pocket caught his attention. With an aggitated huff, he reached in and snatched it out, plannign to crush it equally if it was a pile of rocks or similar nonsense.
It wasn't.
A...device. Of some kind. The clone could tell that much. He stared at it with great intensity. He wasn't the most familiar with computers but this... This wasn't even a computer. What on Earth was it?
Journal Sample → [A very dramatic and exasperated sigh immediately airs over the feed. Mozart is poking away at the options, muttering under his breath as he tries to figure out. He got the post a feed screen easy enough, now he's just trying to figure out what exactly he's supposed to be talking into.]
Is this on? This thing is absolutely ridiculous. Why, just like this place! Honestly, it's a cesspool. What a bother... Hmm... Ah!
[He clears his throat, assuming a more confident tone.]
I demand to be returned! You don't expect me to remain here, do you? [A pause. He can't help at least one good chuckle.] Ha! The mere thought of it is preposterous. I'm far too busy to deal with anything of the sort. You have a lot of nerve to abduct me, Mozart! If it's a performance you desire, I'm afraid you'll have to wait until the Expo. I'm quite busy and I simply don't have any time to spare on the likes of you!
Now, if you would be so good to direct me back to the academy, I shall be on my way. I can't imagine how distressed they must be to find my absence. You shall surely be punished for your actions. You ought to prepare yourself for the reprimands! What a shame that it had to be me you kidnapped.
[His tone changes to one more teasing, downright amused.]
Perhaps next time you would be so kind to kidnap Shiro! What harm will it be? It's not like he belongs at St. Kleio's anyway!
[And he lolololols until click!]