TV-Series
Description
Felix Schindler serves as a primary antagonist, initially appearing as the Chief Conductor of the Symphonica's New York branch. In this capacity, he holds a high-ranking position within the organization, acting as a trusted subordinate to the Grand Maestro, Sagan. However, this authoritative role is a facade for a deeply supremacist and elitist ideology.
On the surface, Schindler presents a calm, rational, and refined demeanor, often seen in a formal conductor's uniform that complements his blond hair and blue eyes. This composed exterior masks a profoundly arrogant and unhinged individual. He harbors a pathological hatred for music, considering it vulgar, useless, and an unreliable basis for judgment, which is a deep irony given his position within the Symphonica. This disdain stems from a past failure as a musician, leading to bitter resentment toward true musical prodigies like Takt Asahina. Schindler views both humans and Musicarts not as living beings but as tools or obstacles. He sees Musicarts purely as weapons for fighting D2s and holds the majority of humanity in contempt, believing only the strong are worthy of survival.
Schindler's motivations are driven by a god complex and a desire to reshape the world according to his twisted vision. He seeks to "cleanse" the world of those he deems weak or inferior, planning to build a new nation populated only by the "chosen" elite, with himself as its destined leader. His primary method for achieving this goal is to weaponize the very monsters that threaten humanity. He is directly responsible for orchestrating multiple D2 attacks on populated areas, using the chaos to cull the population. Most notably, he is the mastermind behind the tragedy in Boston, a D2 attack during a Symphonica event that resulted in the death of Cosette Schneider, the human whose body would become the Musicart Destiny, and set the story's central conflict in motion.
In the narrative, Schindler acts as a direct foil and arch-enemy to the protagonist, Takt Asahina. He becomes obsessed with Takt and Destiny after learning of their existence outside of Symphonica's control. He first encounters them on a train, attempting to recruit them as pawns, but is furiously rejected. Later, defying orders from his superior Sagan to leave Takt alone, Schindler pursues them personally, using his authority and Musicart to corner and attempt to eliminate them. His other key relationships are defined by utility and deception. He serves as the right hand to Sagan, sharing his elitist ideals but ultimately being a disposable asset. His partnership with the Musicart Hell is one of false control; while he believes he commands her, she offers only superficial obedience and is ultimately loyal to Sagan. This dynamic highlights that Schindler's power is entirely dependent on the position and uniform given to him by the Symphonica.
Schindler's development follows a classic trajectory of rise and fall. For a time, he successfully manipulates situations to his advantage, using Hell's tuning fork to awaken D2s and maintain his semblance of power. However, his arrogance and insubordination lead to his dramatic downfall. Sagan dispatches his own Musicart, Heaven, to relieve Schindler of his command. In a public and humiliating scene, Schindler is stripped of his uniform and position, revealing that he was never a true Conductor and that Hell was never truly under his control. This total loss of authority and identity causes him to suffer a complete mental breakdown. He is last seen confined to a mental institution, reduced to a hollow shell and completely stripped of his power and sanity.
In terms of abilities, Felix Schindler is a fraud. He possesses no genuine conducting talent or special powers of his own. His ability to command Musicarts and D2s is entirely derived from his stolen authority within the Symphonica and the borrowed power of his assigned Musicart, Hell. His primary skill is manipulation, using his position to orchestrate attacks and sow chaos, but when this authority is removed, he is left with nothing.
On the surface, Schindler presents a calm, rational, and refined demeanor, often seen in a formal conductor's uniform that complements his blond hair and blue eyes. This composed exterior masks a profoundly arrogant and unhinged individual. He harbors a pathological hatred for music, considering it vulgar, useless, and an unreliable basis for judgment, which is a deep irony given his position within the Symphonica. This disdain stems from a past failure as a musician, leading to bitter resentment toward true musical prodigies like Takt Asahina. Schindler views both humans and Musicarts not as living beings but as tools or obstacles. He sees Musicarts purely as weapons for fighting D2s and holds the majority of humanity in contempt, believing only the strong are worthy of survival.
Schindler's motivations are driven by a god complex and a desire to reshape the world according to his twisted vision. He seeks to "cleanse" the world of those he deems weak or inferior, planning to build a new nation populated only by the "chosen" elite, with himself as its destined leader. His primary method for achieving this goal is to weaponize the very monsters that threaten humanity. He is directly responsible for orchestrating multiple D2 attacks on populated areas, using the chaos to cull the population. Most notably, he is the mastermind behind the tragedy in Boston, a D2 attack during a Symphonica event that resulted in the death of Cosette Schneider, the human whose body would become the Musicart Destiny, and set the story's central conflict in motion.
In the narrative, Schindler acts as a direct foil and arch-enemy to the protagonist, Takt Asahina. He becomes obsessed with Takt and Destiny after learning of their existence outside of Symphonica's control. He first encounters them on a train, attempting to recruit them as pawns, but is furiously rejected. Later, defying orders from his superior Sagan to leave Takt alone, Schindler pursues them personally, using his authority and Musicart to corner and attempt to eliminate them. His other key relationships are defined by utility and deception. He serves as the right hand to Sagan, sharing his elitist ideals but ultimately being a disposable asset. His partnership with the Musicart Hell is one of false control; while he believes he commands her, she offers only superficial obedience and is ultimately loyal to Sagan. This dynamic highlights that Schindler's power is entirely dependent on the position and uniform given to him by the Symphonica.
Schindler's development follows a classic trajectory of rise and fall. For a time, he successfully manipulates situations to his advantage, using Hell's tuning fork to awaken D2s and maintain his semblance of power. However, his arrogance and insubordination lead to his dramatic downfall. Sagan dispatches his own Musicart, Heaven, to relieve Schindler of his command. In a public and humiliating scene, Schindler is stripped of his uniform and position, revealing that he was never a true Conductor and that Hell was never truly under his control. This total loss of authority and identity causes him to suffer a complete mental breakdown. He is last seen confined to a mental institution, reduced to a hollow shell and completely stripped of his power and sanity.
In terms of abilities, Felix Schindler is a fraud. He possesses no genuine conducting talent or special powers of his own. His ability to command Musicarts and D2s is entirely derived from his stolen authority within the Symphonica and the borrowed power of his assigned Musicart, Hell. His primary skill is manipulation, using his position to orchestrate attacks and sow chaos, but when this authority is removed, he is left with nothing.