But Adams truly put it all together like no one else. Elsewhere on the spinner rack, Jim Steranko was similarly blowing up staid panel layouts, and the boldness of expressiveness in his figure rendering has a kinship with both Jack Kirby and John Buscema, the standard bearers of Marvel house style at the time. The reader is the beneficiary.Īdams wasn’t wholly unique in his approach. Throughout Adams’s run on the title, it’s excitingly evident that he bends the story to suit his wild imaginings. Thomas later noted that Adams was effectively the co-plotter on the series, though he wasn’t credited as such. Directing Marvel’s merry mutants was part of Thomas’s swelling portfolio with the publisher, and he was all too happy to cede a good amount of the direction-setting to Adams.
The scribe was also new to the comic, arriving only one issue before Adams. In his inclination toward being inventive on X-Men, Adams had a simpatico collaborator in writer Roy Thomas. Adams requested that assignment, figuring he’d be given more leeway to do whatever he wanted. Adams reportedly asked which publication was scuffling along with the weakest sales, and Lee responded it was X-Men, adding the title was almost certainly bound for cancellation within the next few months. When head honcho Stan Lee finally offered Adams a couple plum freelance gigs, the artist had a counterproposal. An up-and-comer just starting to draw attention for work with the distinguished competition, Adams had been trying to get his pencil in the door of Marvel for some time.
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