What Is Clash Studios?
It kept happening at every table, every signing, every DM. Someone would pick up an issue of Terminus Veil, flip through it, and then look up and ask the same question: what else are you working on?
And every time, I had more answers than felt right to give under the banner of a single book.
That's the moment it clicked. Not in some big meeting. No presentation with slides. Just me — probably too late at night, probably should've been asleep — sitting with the fact that "comic book publisher" didn't cover what I was building anymore. Terminus Veil was six issues deep. We'd been to DreamCon and BlerDCon and a handful of smaller shows. People knew the name. The characters were taking on a life of their own. But the work had already outgrown the label.
That's when I knew Clash needed to become something different. Not just a publisher. A studio.
About Clash Studios: Clash Studios is an independent comics and entertainment studio founded by Jack Harris Jr. in Atlanta. The studio publishes the espionage thriller Terminus Veil (six issues + the Badia's Gambit one-shot) and is developing Gang Land Demon Time, a dark fantasy series. Clash is also building games, animation, 3D collectibles, and a proprietary reader app — all under one creative universe.
The Terminus Veil Comic: Where Clash Studios Started
Let me back up, because you can't understand where Clash is going without knowing where it came from.
Terminus Veil was my first comic. I published it myself, under my company — which I was calling Clash Digital Publishing at the time. Six issues. A universe built around a covert team called The Guardians: Badia Jassim, Yedo, Soo, Conner, Max, Dash, Bird, Quan Wei, Monrad. Specialists who operate outside official channels, going after threats that governments either can't see or won't touch.
At the center of everything is Dr. Edward Clarence. If you haven't read the books, just know: he's the kind of villain who has his fingerprints in everything — the FBI, corporate structures, private operations that don't appear in any official record. He's not loud. He's patient. He's connected. And that makes him genuinely dangerous in a way that most comic villains aren't.
I built this world because I needed to. Not because I had a fully-formed business plan. Not because I'd mapped out a franchise. I needed it because about five years ago I figured out something important about myself: creativity isn't optional for me. It's not a hobby. It's how I stay right. Without it I'm just grinding, and the grind will hollow you out if there's nothing you're building that's actually yours.
Writing gave me that. Building these characters, this world — that was oxygen.
Six issues of the Terminus Veil comic plus a one-shot — Badia's Gambit — later, this universe is real in ways I didn't fully plan for. We sold out Issue 1 at DreamCon. Someone else said the world felt lived-in in a way they didn't expect from an indie book. And at every convention, someone walks up to the table who already knows who Yedo is, already has opinions about the ending of Issue 4, already wants to know what happens next.
That's the thing you can't plan for. And once you have it, you don't let go of it.
But I always knew Terminus Veil was a beginning. Not the whole story.
What Clash Studios Is Building: Comics, Games, and Beyond
Clash Studios is the studio. Not just a comics label — a creative operation built to develop universes and let people step inside them.
That word — studio — matters to me. A publisher releases books. A studio builds worlds. The difference isn't just a name change. It's a different way of thinking about what this is.
Here's what Clash Studios actually is in 2026:
Comics — more than one.
Terminus Veil is still active and there's more story coming in that universe. But we're also building new ones. The Gang Land Demon Time comic — GLDT — is deep in development right now. I've got three concept artists working on character and world visuals, and what they're producing is genuinely different from anything I've made before. Darker. More rooted in mythology. Different tone, different world, different emotional core. I'll share more about that universe as we get closer — but it's coming, and it's going to hit different.
There's also Phantom Rites — another universe in development, one we'll talk more about when the time is right.
Games.
This is personal. I grew up on games the same way I grew up on comics. They're the same language to me — worlds you get to live in, not just watch. Building games around Clash characters is something I've wanted to do since before I published Issue 1. It's part of the studio roadmap and we're moving toward it.
3D figures.
Physical collectibles. Characters you can actually hold in your hands. This is one of those things where the product and the story reinforce each other — the figure makes the character feel real in a different way than a page does. Every physical figure ships with a free digital copy automatically included.
Animation.
The characters I write need to move. There's something about seeing a Clash character in motion — a fight sequence, a character walking through a world we built — that hits in a way a static panel can't fully do, as much as I love what our artists do on the page. Animation is in the roadmap.
The reader app.
This one ties everything together. An app built for Clash readers — not a generic platform with our books loaded onto it, but something designed around our worlds specifically. Read Terminus Veil, get lore context, understand the character histories, track where you are in the universe. From there, step into interactive experiences connected to the stories. Feel like you're inside the world, not just reading about it.
The through-line across all of this is one thing: I want Clash to be a place where the stories don't stop at the page. Where you can read the comic, play the game, hold the figure, use the app, and at every step feel like you're going deeper into the same universe. That's the vision. That's what "studio" means to me.
Why Clash Studios Stays Independent
I want to be real about this, because I think it gets talked around in ways that aren't actually honest.
Being independent is hard. I'm a software engineer by day. I have two daughters — Devan and Nico. I have a wife, Elise, who has been a genuine partner in building this thing and who has made real sacrifices for it. The margins on indie comics are not what anyone shows in the highlight reels. There's no marketing budget built into an advance. There's no infrastructure someone else already built. Every convention table, every print run, every web decision — that's all on us.
I know that. I'm not pretending otherwise.
But being independent was never the plan I settled for. It was the plan I chose on purpose.
Here's the version of this I've said to myself a lot: if I had gone the traditional route — tried to pitch to the big publishers, tried to find an agent, tried to fit what I was building into the mold of what they already greenlight — I might have gotten somewhere. Or I might have spent years getting told that what I make doesn't fit a box someone decided on before I ever walked in the room.
Neither outcome interested me.
I want to build comics where the characters look like people I know. I want to work with artists and writers who get paid fairly and get credit for what they make. I want the stories to go in the direction the story needs to go — not in the direction that's safest for a company managing fifty other titles. I want to be able to look at what Clash makes and say: this is ours. The people who made it and the people who read it — this belongs to us. In a space where Black-created comics still have to fight for shelf space and visibility, that ownership means everything.
That's not something you get when someone else owns the IP.
There's also something about the indie space that I don't think gets enough credit: the audience is real. The people who find your work independently, who go looking for something that feels different and land on your table — they're more loyal and more engaged than a casual reader who bought your book because it was on the shelf at a big retailer. I'd rather have five hundred readers who genuinely care about Terminus Veil than five thousand who forgot they read it a week later.
Independence isn't the limitation. It's the differentiator.
What's Coming from Clash Studios in 2026
Vague "exciting things are coming" posts are the worst. I won't do that to you. Here's what's real and on the calendar.
GLDT Kickstarter — October 2026. This is the big one for the year. We're launching Gang Land Demon Time on Kickstarter in October 2026. The goal is to fund Issue 1 production and build the community around the book before it ever hits retail. The important thing: by the time that Kickstarter launches, you won't be seeing GLDT for the first time. You'll have been watching the world get built for months — characters, art, lore, the whole thing. The Kickstarter isn't a cold introduction. It's the moment people who've been following along get to say "I'm in."
DreamCon — July 10–12, Houston. DreamCon is where Clash connects with our core audience. Black nerds, genre fans, comics people who are actively looking for something different. We sold out Terminus Veil Issue 1 there in 2023. This year, DreamCon is GLDT's world premiere — in person, in full, with the concept art and character reveals and everything that's been in development. If you're going, come find us. If you're not, follow along — we'll be covering it.
Infinite Realities Signing — April 11. A smaller event, but worth knowing about. We'll be there with the full Terminus Veil backlist and I'll be around to talk.
The reader app. Still in development. I'll share more when there's something real to show you. Not vaporware — it's moving.
More Terminus Veil. Yes, there's more story coming in that universe. Badia and the crew aren't going anywhere.
Frequently Asked Questions
Who founded Clash Studios?
Jack Harris Jr., a software engineer and comic book creator based in Atlanta, GA.
What comics does Clash Studios publish?
Terminus Veil (6 issues + the Badia's Gambit one-shot) and the upcoming Gang Land Demon Time.
Is Terminus Veil free to read?
Issue 1 is free — get it at clashstudios.art/pages/free-issue.
When is the Gang Land Demon Time Kickstarter?
October 2026.
Where can I meet Clash Studios in person?
Infinite Realities Comics in Atlanta (April 11) and DreamCon 2026 in Houston (July 10–12).
One More Thing
If you're new to Clash — welcome. If you found this post because you watched the show or heard about us through social and you've never actually read the books — go get Issue 1 of Terminus Veil for free. It's on us.
→ clashstudios.art/pages/free-issue
That's where everything started. It's still a good place to start.
And if you want to stay in the loop on GLDT, the Kickstarter, DreamCon, the reader app — everything happening at Clash in 2026 — join the email list. Not everything makes it to social. The list is where you hear it first.
We're building something real. Something that's ours. I hope you'll come along.
— Jack