The RazorMoon Collective

Founded on the last crescent before the new moon, hence it's name, this artistic movement was consciously formed around a central idea of better quality art. It consisted of several different schools with wildly contrasting styles, but a common core belief in the duty of art to progress culture, thought, and understanding.

It was, in a word, punk.

It didn't matter where you started, so long as you showed up ready to learn. Those who came with the grit to survive the brutal honesty of family--a family of cousins and siblings--walked away with a radical determination and impeccable craftsmanship, regardless of style or discipline.

The earliest days of the movement were anchored in an uprising in thought against an imperative between authoritarian leftisim and fascist rightism and fueled by an anti-capitalist agenda of equity.

Their manifesto was simple: steal from the rich and beat them bloody while you're at it, because f'ck them for making it necessary.

Simple. Effective. Transformative.

In less than five years, they revolutionized not just underground art, but the mainstream as well was dictated in response to the newest RMC agenda. The collective, of course, was wholly aware of their power and used it to ensure that those in power could not keep hidden the truth of human experience.

Within a quarter of a century, the standard quality of culture had driven mass reforms in politics and education, an eradication of systemic inequity and injustice, and a renewed drive toward the betterment of self through loving critique, introspection, and growth.

One hundred years after its founding, the RMC's effects were still directly visible not just through its continued presence as an arts foundation, but also in the steady stream of writers, painters, dancers, musicians, and philosophers that emerged from within its circles.

Examples include: Artists such as famed playwright Espellar DeMonier (Bloodstained River) and his improvements to the guillotine. Also, director Isathella Miar (Diary of Blood and Ash, Generation Six, The Innocence of Slaughter) credits her knowledge of disembowelment and other "practical effects" to her time spent among the collective.