Neal Adams

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Neal Adams (born June 15, 1941) is an American comic book and commercial artist known for helping to create some of the definitive modern imagery of the DC Comics characters Batman and Green Arrow; as the co-founder of the graphic design studio Continuity Associates; and as a creators-rights advocate who helped secure a pension and recognition for Superman creators Jerry Siegel and Joe Shuster. Adams was inducted into the Eisner Award's Will Eisner Comic Book Hall of Fame in 1998, the Harvey Awards' Jack Kirby Hall of Fame in 1999, and the Inkwell Awards Joe Sinnott Hall of Fame in 2019.

Early life

Neal Adams was born June 15, 1941 on Governors Island, New York City, to Frank Adams, a writer for the military, and Lilian, who ran a boardinghouse. Raised in a military family, he grew up in a series of army bases, ranging from Brooklyn to Germany. with his father largely absent from his life. Adams attended the School of Industrial Art high school in Manhattan, graduating in 1959.

Personal life and death

Adams first wife was comics colorist Cory Peifer. Their daughter Zeea, is also a comics colorist.

Adams and his second wife Marilyn lived in New York. They had three sons, Jason, Joel and Josh. Jason works in toy and fantasy sculpture, Josh Adams illustrated a pinup of Batman in Batman: Odyssey #1 (Sept. 2010). while Joel and Josh illustrate comics and do design work on television shows. Adams also had another daughter, Kristine.

Adams died in New York on April 28, 2022, at the age of 80. His wife Marilyn told The Hollywood Reporter that Adams had died from complications of sepsis.

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Career

He struggled to find freelance work at DC Comics and then moved to Archie Comics, where he wanted to work on the publisher's fledgling superhero line, edited by Joe Simon. Adams drew "three or four pages of [the superhero] the Fly] at staffers' suggestion, but did not get any encouragement from Simon. However, sympathetic workersers begged Adams to obtain samples for the Archie teen-humor comics. Adams said in a 2000s interview that he did do so, he unintentionally became a comedian.

In Adventures of the Fly #4 (Jan. 1960), the panelists appeared. Adams' Joke Book Magazine began a series of stripping, penciling, inking, and lettering. In a 1976 interview, he recalled earning "[a]bout $16.00 per half-page and $32.00 for a complete page. Well, it doesn't appear that much money, but it did mean a lot to myself and my mothers at the time, as we were not in a wealthy state. So to speak, it was manna from heaven." Howard Nostrand, a youth newspaper comic strip, began in the Bat Masterson syndicated newspaper comic strip, and he spent three months as Nostrand's assistant, mainly drawing backgrounds at what Adams described as $9 per week and "a great experience."

Adams converted to commercial art for the advertising market after "not left Archie Comics under the best of circumstances." After a rough start freelancing, he began working at the Johnstone and Cushing company, which specialized in comic-book styled advertisements. Adams' portfolio was initially shown by artist Elmer Wexler, who criticized the young Adams' samples because they looked so much like Elmer Wexler's. However, they gave me a chance and.... I was there for about a year.

Adams began his comics career in earnest at the Newspaper Enterprise Association syndicate in 1962. A.k.a. writer Jerry Caplin, a.k.a., got a recommendation from a recommendation. Jerry Capp, brother of Li'l Abner creator Al Capp, invited Adams to draw samples for Capp's planned Ben Casey comic strip, based on the famous television medical drama series. Adams was granted the assignment based on his samples and of his "Chip Martin, College Reporter" AT&T advertising comic-strip pages in Boys' Life magazine, as well as his identical Goodyear Tire ads. The first daily strip, which featured Adams' signature, debuted in November 26, 1962; a color Sunday strip appeared in September 20, 1964. During Ben Casey's 3+1—year tenure, Adams continued to do Johnston & Cushing assignments.

According to Maurice Horn, the strip "did not disappear from tackling controversial topics such as heroin use, illegitimate pregnancy, and attempted suicide." These were typically handled in soap opera fashion, but there was also a touch of toughness to the proceedings, as Adams' strong, precise style exuded authenticity and tension and conformed well with the strip's overall tone."

Jerry Brondfield wrote for the strip in addition to Capp, with Adams occasionally popping in.

With the last comic strip appearing on Sunday, July 31, 1966, the ABC series, which lasted five seasons, came to an end on March 21, 1966. Adams also said that the strip, which he claimed at various times to have appeared in 365 newspapers, 265 newspapers, and 165 newspapers, was not an unpleasant situation."

Adams' ambition at the time was to be a commercial illustrator. While drawing Ben Casey, he continued to do storyboards and other advertising jobs, and said in 1976 that after leaving the strip, he had shopped around a portfolio for agencies and for men's magazines, "but my content was a little too realistic and not quite right for most." I left my advertising company promising that they would hold on to it. I needed to make some money in the meantime, so I wondered, 'Why don't I do some comedies?'" In a 2000s interview, he remembered the events slightly differently, saying, "I gave [my account] to various advertising firms." I left it at one place overnight and when I returned to get it the next morning, it was gone. So, six months of work went down the drain. " " ".... "

In 1966, he worked as a ghost artist on Peter Scratch (1965–1967), a Hardboiled detective serial created by writer Elliot Caplin, brother of Al Capp and Jerry Capp, and artist Lou Fine. Adams is also responsible for two weeks of drogues for Stan Drake's The Heart of Juliet Jones, but some sources are uncertain about dates; others trace 1967, 1968, and 1963 Adams himself. As well, Adams completed 18 sample dailies (three weeks of continuity) of a new dramatic serial about construction engineer Barnaby Peake, his college-student brother Jeff, and Chad's teenage brother Chad in 1965, but it was not syndicated. Adams later reported that Elliot Caplin sold Adams the job of drawing a comic strip based on author Robin Moore's The Green Berets, but that Adams, who opposed the Vietnam War, where the series was based, recommended longtime DC Comics war comics artist Joe Kubert, who received that position.

Adams, who converted to comic books, found work in Warren Publishing's black-and-white horror-comics magazines, reporting editor Archie Goodwin. In Creepy #14 (April 1967), Adams debuted as a penciler and inker of writer Goodwin's eight-page anthological book "Curse of the Vampire." In Eerie #9 (May 1967) and Creepy #15 (June 1967), he and Goodwin collaborated on two more stories, and Adams as well as reapproached DC Comics.

Joe Kubert, the stalwart of DC war comics, is now focusing on the comic strip The Green Berets, Adams, despite his opposition to then-current US military involvement in Vietnam, saw an opening:

Adams made his DC debut as penciler-inker of Howard Liss' "It's My Turn to Die," an anthology collection titled "Our Army at War #182" (July 1967). He wrote a few more horror and war stories for the two publishers, and then, after being turned down by DC's Batman editor Julius Schwartz, he contacted DC's Batman reporter Murray Boltinoff in the hopes of drawing for Boltinoff's Batman team-up film The Brave and the Bold. Boltinoff instead sent him to "Jerry the Asto-Nut," an Arnold Drake story, while Jerry Lewis' "July to August 1967" was attached to The Adventures of Jerry Lewis #101 (July-August 1967) and its full-length story "Jerry the Asto-Nut." It was the first of a series of stories and covers that Adams would love for the series and The Adventures of Bob Hope, two licensed titles starring fictional versions of the TV, film, and nightclub comedians.

Adams was soon awarded his first superhero covers during the Superman's Golden Age of comic books, depicting Superman's Golden Age of comic books and Lois Lane #79 (Nov. 1967), illustrating Superman and a mysterious new costumed character, Titanman. Adams penned his first superhero tale in Detective Comics #369 (November 1967), the flagship Batman film, teaming with writer Gardner Fox on the lighthearted backup feature "The Elongated Man." He drew Batman himself and the Spectre on the front page of The Brave and the Bold #75 (Jan. 1968) – the first published instance of Adams' series on what would be two of his signature comics characters. In the first instance of Adams drawing Batman in an interior story, "The Superman-Batman Revenge Squads" was drawn in World's Finest Comics #175 (May 1968).

The supernatural hero Deadman, who had appeared in DC's Strange Adventures #205, was another key character in Adams' breakout series. (Nov. 1967). Adams co-created Carmine Infantino with the following issue's 17-page story "An Eye for an Eye," written by Arnold Drake, with George Roussos inking Adams' pencils. Adams continued to write both the front and stories for issues 207-216 (Dec. 1967) and then taking over scripting with #2012 (June 1968). Adams himself received a special award "for the new perspective and dynamism he has brought to the field of comic art" after being inducted into the Alley Award Hall of Fame and being almost immediately inducted into the Alley Award Hall of Fame.

Adams also wrote about and told The Spectre #2–5 (Feb.–Aug. 1968), becoming DC's top cover artist well into the 1970s. Infantino "was named art director," Adams recalled, and he decided I was going to be his spark plug. I also thought it was a good idea, and a few things were not fulfilled were also promised, but it was never fulfilled. But I knew it would be an adventure, so I knuckled down to 'Deadman', The Spectre, and any other bizarre stuff that would come my way. "I was also doing a lot of covers."

Adams was asked to rewrite and rewrite a Teen Titans tale that had been written by then-newcomers Len Wein and Marv Wolfman. The tale, titled "Titans Fit the Battle of Jericho," is told. "I was supposed to be DC's first African American superhero but was turned down by publisher Carmine Infantino." In Teen Titans #20 (March–April 1969), the updated tale was published.

Adams' art style, which has flourished in advertising and in the photorealistic school of dramatic-serial comic strips, represents a significant shift in comics art to that time. In 2009, comics writer and columnist Steven Grant wrote an article in which he said that, as a result of this, it was revealed.

Adams, who was already freelance for Washington, D.C., began freelancing for Marvel Comics, where he penciled several issues of the mutant-superhero team's name X-Men and one story about a horror anthology title. Adams was described as having "one foot planted in our Marvel doorway," according to the Fantastic Four #87's "Bullpen Bulletins" column. When you see the way he portrayed our new X-Men bombshell, we're guessing it will turn him into a Marvel madman from head to toe. Such freelancing among the two major corporations was unprecedented at the time; the majority of DC designers who did so worked pseudonymously.

Adams recalled in 1976:

He collaborated with writer Roy Thomas on X-Men and later on, the firm was on the brink of cancellation, beginning with issue #56 (May 1969). Adams penciled, colored, and Thomas, the author of the plot, did most of the plotting, as well as the complete plan for issue #65. Adams and writer Dennis O'Neil, one of the team's oldest collaborations, revived the Professor X character in this issue. Adams was paired for the first time with inker Tom Palmer, with whom he would collaborate on several hit Marvel comics; the pair's careers earned them the 1969 Alley Awards for Best Pencil Artist and Best Inking Artist, respectively. Thomas was named Best Writer in the United States this year. Despite the fact that the team failed to save the title, which ended with #66 (March 1970), The Avengers #93-97 (Nov. 1971 – May 1972) produced what comics historians regard as some of Marvel's finest creative highlights of the period. Adams co-wrote in Tower of Shadows #2 (Dec. 1969), but did not draw, another in Chamber of Shadows #2 (Dec. 1969). In Amazing Adventures vol. 2, Thomas and Adams joined scripter Gerry Conway and penciler Howard Chaykin to introduce the series "The War of the Worlds" and its central character, Killraven. 2nd #18 (May 1973) (May 1973).

Adams continued to work with DC Comics during this sojourn, as well as contributing the occasional story to Warren Publishing's black-and-white horror comics (including the Don Glut-scripted "Goddess from the Sea" in Vain, 1969). The pair, under editor Julius Schwartz's direction, will resurrect Batman's sarcotic, brooding style and take the books away from the 1966-68 ABC TV series's campy look and feel. In issue #395 (Jan. 1970), they had "The Secret of the Waiting Graves" and "Paint a Picture of Peril," with a short Batman backup story written by Mike Friedrich in issue #303 (Feb. 1970). In Detective Comics #400 (June 1970), Adams introduced new characters to the Batman mythos, beginning with Man-Bat co-created with writer Frank Robbins. Ra's al Ghul, O'Neil and Adams' creation, was featured in Batman #232 (June 1971), and the character would later become one of Batman's most legendary adversaries. In "The Joker's Five-Way Revenge," the same creative team will revive Two-Face in Batman #234 (Aug. 1971) and resurrect the Joker's Five-Way Revenge." Batman #251 (Sept. 1973), a classic story about a homicidal maniac who murders people on a whim and delights in his mayhem, brings the protagonist right back to his roots as a homicidal maniac who murders people on a whim and delights in his mayhem.

Batman's long-term makeover was contemporaneous with Adams and O'Neil's celebrated, as well as a more recent update of the long-running DC characters Green Lantern and Green Arrow.

Green Lantern vol. Rechristening Green Lantern vol. With issue #76 (April 1970), Green Lantern/Green Arrow co-momentary teamed these two characters in a long story arc in which the characters undertook a social-commentary journey around the United States. Adams updated Green Arrow's physical appearance by constructing a new costume and giving him a distinctive goatee beard for the character in The Brave and the Bold #85 (Aug.-Sept 1969). In the series's finale, "No Evil Shall Escape My Sight" and became "And Through Him Save a World," a major example of what the industry and the public at the time called "relevant comics." In Green Lantern #85–86, it was revealed that Green Arrow's ward Speedy was addicted to heroin during this period.

Wrote historian Ron Goulart,

In the pages of The Flash #217–219 and #226 (1972–74), the adventures of both super-heroes continued in Green Lantern's pages.

Adams' contributions to DC, outside of his work on Batman, were patchy, with him only drawing a Clark Kent back-up tale and quoting Jim Aparo pencilling the Teen Titans in The Brave and the Bold #102 (1972). Adams also wrote a few articles for Weird Western Tales and House of Mystery, as well as Action Comics and Justice League of America. Adams was involved in the first intercompany superhero crossover Superman vs. the Amazing Spider-Man. Many of the Superman characters had been redrawn by him.

Adams spent time in DC before establishing his own business, Continuity Associates, was the oversize Superman vs. Muhammad Ali (1978), which Adams has rated as his personal favorite. Adams' DC and Marvel mainly limited to new covers for reprint or trade paperback collections of some of his drawings, such as Green Lantern/Green Arrow, The Kree-Skrull War, The Saga of Ra's al Ghul, or The Kree-Skrull War. Dick Grayson, the DC's Robin character, invented a new costume in 1988. When DC first announced new Robin Tim Drake, they loved the update and adapted it to the comics years later. In the first issue of the Robin limited series, a miniposter was included.

In 2005, Adams returned to Marvel (his last for this publisher was in 1981, writing a story for the Giant-Size X-Men #3). Adams (among other artists) created artwork for Young Avengers Special #1 in the following year.

Adams, a writer and artist on the miniseries Batman: Odyssey, returned to DC Comics in 2010 as a writer and artist. The series was originally intended as a 12-issue story and was relaunched with vol. X. In October 2011, the world's highest-ranked leader. For the second series, a total of seven issues were released before its conclusion in June 2012.

Adams penciled The New Avengers vol. (Disney) besides those assignments for DC. Marvel Comics' number 2, which stands at #6 (Nov. 2011). Adams will return to the X-Men in May 2012, a five-issue miniseries produced and plotted by him and written by Christos Gage. For Batman Black and White Vol. 1, Adams wrote short stories. Vol. 2 (Nov. 2013) and Detective Comics vol. 1 (Nov. 2013) and Detective Comics Vol. 2nd (March 2014): "March 2014" - the number 27 was ranked at number 27 (March 2014).

Adams revisited some of his best DC Comics covers from the 1960s to 1970s, swapping the original characters with some of the latest 52 ones in February 2016. Adams wrote and drew the six-part Superman: The Coming of the Superman miniseries was later this year. Adams wrote and illustrated a Deadman limited series in 2017. He drew "The Game," which was written by Paul Levitz for the Action Comics: 80 Years of Superman hardcover collection.

In August 2020, Adams and writer Mark Waid introduced Fantastic Four: Antithesis, a four-issue miniseries starring the Fantastic Four in a fight against a new cosmic threat. This will be his last work as an interior designer. Batman vs. Ra's al Ghul, Adams' last book as a writer (instead of providing the artwork), was set to be published in November 2019 before the final two issues were postponed to March 2021 due to the COVID-19 pandemic.

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