He was the co-founder of the graphic design studio Continuity Associates, and was a creators-rights advocate who helped secure a pension and recognition for Superman creators Jerry Siegel and Joe Shuster.

[12] Afterward, Adams began writing, penciling, inking, and lettering[9] humorous full-page and half-page gag fillers for Archie's Joke Book Magazine.

[12] On the strength of his samples and of his "Chip Martin, College Reporter" AT&T advertising comic-strip pages in Boys' Life magazine, and of his similar Goodyear Tire ads,[15] Adams landed the assignment.

[17] Comics historian Maurice Horn said the strip "did not shrink from tackling controversial problems, such as heroin addiction, illegitimate pregnancy, and attempted suicide.

These were usually treated in soap opera fashion ... but there was also a touch of toughness to the proceedings, well rendered by Adams in a forceful, direct style that exuded realism and tension and accorded well with the overall tone of the strip".

[18] As well, Adams drew 18 sample dailies (three weeks' continuity) of a proposed dramatic serial, Tangent, about construction engineer Barnaby Peake, his college-student brother Jeff, and their teenaged sibling Chad, in 1965, but it was not syndicated.

He and Goodwin quickly collaborated on two more stories, "Fair Exchange" in Eerie #9 (May 1967) and "The Terror Beyond Time" in Creepy #15 (June 1967), and Adams as well reapproached DC Comics.

[20]Adams made his DC debut as penciler-inker of the 8+1⁄2-page story "It's My Turn to Die", written by Howard Liss, in the anthology series Our Army at War #182 (July 1967).

[26][27] It became the first of a slew of stories and covers Adams would draw for that series and The Adventures of Bob Hope, two licensed titles starring fictional versions of the TV, film and nightclub comedians.

Also that month, Adams drew his first superhero story, teaming with writer Gardner Fox on the lighthearted backup feature "The Elongated Man" in Detective Comics #369 (November 1967), the flagship Batman title.

Shortly afterward, he drew Batman himself, along with the supernatural superhero the Spectre, on the cover of The Brave and the Bold #75 (Jan. 1968) – the first published instance of Adams' work on what would become two of his signature comics characters.

Despite vastly different styles, both favored designs that drew on depth of focus and angularity that put the reader in the center of the action while slightly disorienting them to increase the tension, and placed special emphasis on lighting and body language as emotion cues.

Though the team failed to save the title, which ended its initial run with #66 (March 1970), the collaboration here and on the "Kree-Skrull War" arc of The Avengers #93–97 (Nov. 1971 – May 1972) produced what comics historians regard as some of Marvel's creative highlights of the era.

Thomas and Adams collaborated again along with scripter Gerry Conway and penciler Howard Chaykin to introduce the series "The War of the Worlds" and its central character, Killraven, in Amazing Adventures vol.

[49] Continuing to work for DC Comics during this sojourn, while also contributing the occasional story to Warren Publishing's black-and-white horror-comics magazines (including the Don Glut-scripted "Goddess from the Sea" in Vampirella #1, Sept. 1969), Adams had his first collaboration on Batman with writer Dennis O'Neil.

2 as Green Lantern/Green Arrow with issue #76 (April 1970), O'Neil and Adams teamed these two very different superheroes in a long story arc in which the characters undertook a social-commentary journey across America.

[58] A few months earlier, Adams updated Green Arrow's visual appearance by designing a new costume and giving him a distinctive goatee beard for the character in The Brave and the Bold #85 (Aug.-Sept 1969).

[59] A major exemplar of what the industry and the public at the time called "relevant comics",[60] the landmark run began with the 23-page story "No Evil Shall Escape My Sight" and continued to "... And through Him Save a World" in the series' finale, #89 (May 1972).

The drug abuse problem was dramatized in an unusual and unprecedented way by showing Green Arrow's heretofore clean-cut boy companion Speedy turning into a heroin addict.

[63] After Green Lantern/Green Arrow, Adams' contributions to DC, apart from his work on Batman, were sporadic, limiting to draw a Clark Kent back-up story in Superman #254 (1972) and sharing credits with Jim Aparo pencilling the Teen Titans in The Brave and the Bold #102 (1972).

The film co-starred Adams' children Jason and Zeea as well as fellow comics professionals Denys Cowan, Ralph Reese, Larry Hama, and Gray Morrow.

His efforts, along with precedents set by Atlas/Seaboard Comics' creator-friendly policies and other factors, helped lead to the modern industry's standard practice of returning original artwork to the artist, who can earn additional income from art sales to collectors.

[94][95] Adams helped lead lobbying efforts that resulted in Superman creators Jerry Siegel and Joe Shuster receiving decades-overdue credit and financial remuneration.

[102] In collaboration with Rafael Medoff, director of the David S. Wyman Institute for Holocaust Studies, Adams championed an effort to get the Auschwitz-Birkenau State Museum, which is operated by the government of Poland, to return the original artwork of Dina Babbitt.

In exchange for his sparing her mother and herself from the gas chambers, Babbitt worked as an illustrator for Nazi death camp doctor Josef Mengele, who wanted detailed paintings to demonstrate his pseudoscientific theories about Romani racial inferiority.

Each standalone episode, which runs from five to ten minutes, utilizes a combination of archival film footage and animatics drawn by Adams (who also narrates), and focus on a different person.

La Guardia's actions stood in contrast to the relative passivity of President Franklin Roosevelt, who historians such as David S. Wyman believe did not do as much as he could have to save European Jews,[105] a point underlined in the episode "Messenger from Hell".

2, #76, with writer Dennis O'Neil), and Best Pencil Artist (Dramatic Division); and in 1971 for Best Individual Story ("Snowbirds Don't Fly" in Green Lantern vol.

[120] Adams held the work of Australian geologist Samuel Warren Carey in high esteem, but considered the term "Expanding Earth" a misnomer.

"[133] Adams also used the concept as the basis for his Batman: Odyssey series, in which the planet's expansion has produced a Hollow Earth, the inside of which is inhabited by dinosaurs and Neanderthal versions of the main characters.