Neal Adams is an American comic book artist and writer from New York City. He has been active in the field since the early 1960s. His work has been critically acclaimed, and he has been inducted into the Will Eisner Comic Book Hall of Fame, the Jack Kirby Hall of Fame in 1999, and the Joe Sinnott Hall of Fame. He has been a creators-rights advocate since the 1970s, and once led efforts to unionize the comic book creators.

In 1941, Adams was born on Governors Island, an island located in New York Harbor, within the New York City borough of Manhattan. The island was used as a United States Army post from 1783 to 1966, primarily used as a training ground for troops. Residential buildings and modern roads were added to the island in the 1920s.

Adams received his secondary education at the School of Industrial Art, a Career and Technical Education high school located in Manhattan. The school had been established in 1936 by a small group of art teachers. Adams graduated in 1959, and then started seeking work as a freelance comic book artist.

Adams submitted samples of his work to the publisher Archie Comics. He aspired to draw stories for the superhero the Fly/Thomas "Tommy" Troy. A panel of his work was published in "Adventures of the Fly" #4 (January 1960), added to another artist's story. The panel was considered superior to one which had been drawn by a more experienced artist. It was Adams' first published work.

Adams was hired by Archie Comics, and tasked with writing, penciling, inking, and lettering humorous filler stories for "Archie's Joke Book Magazine". He earned about16 dollars for each half-page that he completed , and 32 dollars for each full page. The payment was meager, but Adams became the main breadwinner for his impoverished family,

Through a recommendation, Adams was hired for three months as an assistant to experienced comics artist Howard Nostrand (1929-1984). They worked on the short-lived syndicated comic strip "Bat Masterson" (1959-1960), which was based on a Western television series. Adams primarily worked as a background artist on the strip, earning a weekly salary of 9 dollars.

Having left Archie Comics, Adams worked for a while as a freelance artist for the advertising industry. He found regular work at the agency Johnstone and Cushing (1936-1962), which specialized on comic-book styled illustrations. Adams received additional training by veteran illustrator Elmer Wexler (1918 - 2007), and created a number of works in Wexler's style.

In 1962, Adams was hired as the main artist for the comic strip "Ben Casey" (1962-1966), which was based on a medical drama television series. The plots of the script were typical for soap operas, involving "heroin addiction, illegitimate pregnancy, and attempted suicide". But Adams produced artwork in a realistic style, which aided the strip's success. Adams earned a weekly salary of 300-350 dollars.

In 1966, "Ben Casey" ended, and Adams returned to working as a freelancer. He served briefly as a ghost artist for the comic strip "Peter Scratch" (1965-1967), about the career of a hard-boiled detective. He also served as a ghost artist for the long-running comic strip "The Heart of Juliet Jones"" (1953-2000), with art imitating the work of the strip's regular artist Stan Drake (1921 - 1997). He reportedly turned down an offer to work on the comic strip "The Green Berets", which glorified the battles of the Vietnam War. He suggested that the agency responsible should hire Joe Kubert ( 1926 - 2012), an artist who specialized in drawing war comics.

In 1967, Adams was hired by the comic book publisher Warren Publishing, which specialized on horror stories. He collaborated with experienced writer Archie Goodwin (1937 - 1998)) in creating stories for the anthology series "Creepy" and "Eerie". At that time, he learned that Joe Kubert had left DC Comics. The company sought new artists for its war comics, and Adams applied for the job. An 8-page story in the anthology series "Our Army at War" #182 (July 1967) was his first story for DC. He continued working concurrently for both Warren and DC.

Adams aspired to work on stories for the popular superhero Batman/Bruce Wayne, but DC editor's kept rejecting his applications for the job He was instead tasked to illustrate comedy stories for the series "The Adventures of Jerry Lewis" and "The Adventures of Bob Hope", which depicted fictionalized versions of famous comedians. He was also tasked with drawing Superman-related covers for "Action Comics" #356 and "Superman's Girl Friend, Lois Lane".

In "Detective Comics" #369 (November, 1967), Adams illustrated a lighthearted story featuring the superhero Elongated Man/Randolph "Ralph" Dibny. It was his first superhero story. He soon became the regular artist for stories featuring the undead superhero Deadman/Boston Brand, serving in this role for "Strange Adventures" #206-216 (November 1967-February, 1969). As of issue #212, he was also the series' writer. This series became a fan favorite, and won a number of awards. It established Adams' reputation as a great artist.

In 1968. Adams became the regular writer and artist for a short-lived series featuring the return of 1940s superhero the Spectre/Jim Corrigan. While the series re-established the Spectre as a viable character, it was not commercially successful. The series only lasted for 10 issues, with Adams illustrating about half of them. The only significant villain depicted in Adams' stories was the Psycho-Pirate/Roger Hayden, a man who could manipulate the emotions of others.

In 1969, was asked to rewrite and redesign a Teen Titans story about protesters being manipulated by alien invaders.. His version of the story appeared in "Teen Titans" vol 1 #20 (April, 1969). The original version of the story was intended to introduce a superhero code-named Jericho, while Adams' version featured a one-shot character called Joshua.

Adams' continued to be a freelancer, and he was hired by Marvel Comics in 1969. Adams served as the regular artist for "X-Men" vol 1 #56-63(May-December, 1969), and #65 (February, 1970). In his first story, Adams redesigned the super-villain Living Pharaoh/Ahmet Abdol into the giant form of the Living Monolith. He next introduced the villain Larry Trask, along with the second generation of the mutant-hunting robots known as the Sentinels. He also co-created and designed the energy vampire Sauron/Karl Lykos, who was named after a Tolkien character. He co-created a new super-villain team, the Savage Land Mutates, as rivals for the X-Men. Adams was the first artist to design classic villain Magneto/Max Eisenhardt without his helmet. In his final issue, Adams co-created a new villainous alien race, the Z'nox.

As Adams later recalled in interviews, he found that Marvel provided a friendlier working environment than DC. He got to socialize with his co-workers, and befriended colleague such as John Romita Sr. (1930-), Marie Severin (1929-2018), and Herb Trimpe (1939 - 2015). He also formed working relationships with writers Roy Thomas (1940-) and Dennis O'Neil (1939 - 2020), and the inker Tom Palmer (1942-).

In 1970, Adams finally got a chance to work on Batman, when asked by editor Julius Schwartz to revamp the character. The fairly lighthearted Batman stories of the 1960s had fallen out of fashion. Adams and Dennis O'Neil created stories re-establishing Batman's "dark, brooding nature" and the film noir-like world which he inhabits. They also made changes to Batman's rogues gallery.

In 1970, Adams co-created the shapeshifting villain Man-Bat/Dr. Robert Kirkland "Kirk" Langstrom as a new adversary for Batman. In May 1971, Adams co-created the femme fatale Talia al Ghul as both a foe and a love interest to Batman. In June 1971, Adams co-created Talia's father, the immortal villain Ra's al Ghul (Arabic for "The Head of the Demon) as a new major threat in Batman's life. In August 1971, Adams revived the classic villain Two-Face/Harvey Dent, who had last been used in 1954. The disfigured villain became one of Batman's main rogues. In September 1973, Adams revamped the Joker into "a homicidal maniac who murders people on a whim and delights in his mayhem". This version of the character more closely resembled the 1940s version of the character than the "goofy prankster" version used since the 1950s.

Back in "The Brave and the Bold #85 (August-Sepembert 1969), Adams had redesigned the classic superhero Green Arrow/Oliver "Ollie" Queen. He gave the character a distinctive goatee beard and a more stylish uniform. In 1970, he further revamped the character into a streetwise protector of the working class and the disadvantaged, with left-wing political beliefs. Starting in "Green Lantern/Green Arrow" #76 (April 1970), the character shared a series with the space cop Green Lantern/Hal Jordan. Jordan was revamped at that time into a conservative man with a strong belief in "law and order". The two heroes formed an odd pairing in their shared stories

Over the following few years, Adams and Dennis O'Neil collaborated in stories where the two heroes faced real-life problems, such as "racism, overpopulation, pollution, and drug addiction". Green Arrow's former sidekick Speedy/Roy Harper was depicted as a drug addict, bringing the problem of addiction close at home. This new direction to the characters was critically acclaimed, but not commercially successful. "Green Lantern/Green Arrow" was canceled with issue #89 (April, 1972), which featured a story based on Jesus' crucifixion. The series was revived in 1976, without any involvement by Adams.

Adams was one of the main artists working in the space opera story "Kree-Skrull War", published in "Avengers" vol. 1 #89-97 (June 1971 - March 1972). The story depicted a war between two rival space empires, that had been introduced in the previous decade. It also featured the alien superhero Captain Marvel/Mar-Vell becoming an honorary member of the Avengers. It finally introduced a romantic relationship between two veteran Avengers, the magic user Scarlet Witch/Wanda Maximoff and the sentient android Vision. The story is considered a highlight in Marvel's history, and introduced many long-running subplots.

In 1973, Adams co-created a new science fiction character for Marvel, Killraven/Jonathan Raven. The character inhabited a post-apocalyptic a future, where humanity has been enslaved by Martians. Killraven was depicted as a member of a group of freedom fighters who wandered in the ruins of the Eastern United States. The initial Killraven series ended in 1976, though the characters has been revived several times.

For the rest of the 1970s, Adams worked on few stories for DC Comics. He worked however frequently as a cover artist, and worked on redesigns of Superman's supporting cast. He was an uncredited co-artist in the crossover story "Superman vs. The Amazing Spider-Man" (March 1976). In the story the two heroes team-up to foil the combined threats of Lex Luthor and Doctor Octopus/Dr. Otto Octavius. The story is considered the first modern superhero inter-company crossover.

In 1978, Adams and Dennis O'Neil collaborated on the one-shot comic "Superman vs. Muhammad Ali", where the hero has to face Ali in a boxing match. The story established that Superman typically relies on his superior strength to win fights, and lacked in actual training and fighting skills. The 72-page book was a landmark issue, and a personal favorite of Adams. It was also his last professional comic book story for several decades.

Back in 1971, Adams had founded his own company, the illustration studio Continuity Associates. There comic book artists provided artwork for other companies. In the late 1970s, Adams focused most of his efforts on running the lucrative company. The company's employees have at various times included famous names such as Larry Hama, Walt Simonson, and Jim Starlin.

In the 1970s, Adams led efforts to unionize comic book creators. In 1978, he co-founded the Comics Creators Guild. The organization had about 40 members. In 1975, his lobbying efforts convinced DC Comics to pay a yearly stipend and medical benefits to Jerry Siegel and Joe Shuster,, Superman's original creators. The two men did not own their own creation, and had struggled financially for years. In 1987, Adams' lobbying efforts convinced Marvel Comics to return original artworks from its archives to the artists responsible. These artists could earn additional income from selling the artwork to collectors.

In 1984, Adams founded the subsidiary company Continuity Comics (1984-1994), to publish work by himself and others. Its most popular character was the witch Ms. Mystic, a character which Adams had created in 1982. She had her own series for 9 issues. Adams was involved in a legal controversy when fellow artist Michael Netzer (1955-) claimed that he was an uncredited co-creator of Ms. Mystic, and demanded ownership rights. Adams won the court case, but Continuity Comics collapsed due to financial problems. Adams and Netzer have maintained an adversarial relationship ever since.

In 2005, Adams made his comeback in comics, when hired by Marvel to draw an 8-pages long story featuring the X-Men. In 2010, he both wrote and designed the mini-series "Batman: Odyssey". From 2011 to 2012, he worked on the sequel series "Batman: Odyssey" vol. 2. In 2012, he worked on the X-Men again, co-writing and designing the mini-series "First X-Men". This series established that Wolverine/James Howlett and Sabretooth/Victor Creed led a mutant team of heroes before the X-Men were founded. It also provided additional background information on several characters associated with the X-Men, such as Professor X/Charles Xavier and Bolivar Trask.

Adams produced a number of Batman short stories for DC Comics in 2013 and 2014. In 2016, he created new versions of some of his most famous covers for DC Comics. Also in 2016, he wrote and designed the miniseries "Superman: Coming of the Supermen". In 2017, Adams wrote and designed a mini-series featuring Deadman. So far, this has been his last major work for comic books.

In 2008, Adams participated in efforts to convince the Auschwitz-Birkenau State Museum to end its ownership of artwork created by the artist Dina Babbitt (1923-2009). Babbitt had created the artwork while serving as an inmate of the Auschwitz concentration camp, and ownership over it was held by the camp's authorities. She later wished to reclaim ownership over her work, but the museum rejected her petitions. Adams believes that the artwork properly belongs to Babbitt's descendants, and not to the museum. He has illustrated a graphic documentary about Babbitt's story, and continues to support the case of the Babbitt family.

As of 2021, Adams is 80 years old. He is no longer particularly active as an artist, but he is fondly remembered for creating or co-creating several popular characters. Some of his creations have stood the test of time, and his contributions to long-running characters such as Batman and the X-Men are well-regarded.