Jeremy Adams

From Hollywood to the Speed Force

Jeremy Adams didn’t arrive in comics through the traditional route. He built his career as a screenwriter and producer in Los Angeles, working across animation and live-action television before the comics world came calling. That background — learning to engineer plot, character, and pace under the demanding constraints of production schedules and broadcast audiences — is exactly what makes his comics work feel so alive.

His path into the industry is woven with a personal thread: Adams’ father, Michael R. Adams, was a comics artist who drew for DC in the ’80s. Comics weren’t an abstract dream for Jeremy — they were part of the fabric of his childhood. So when DC came knocking during their Infinite Frontier initiative in 2021, he wasn’t just ready; he had something to prove.

Rescuing the Fastest Man Alive

Adams inherited a complicated situation when he took over The Flash with issue #768. Wally West — once one of DC’s most beloved legacy heroes — had been left in narrative shambles by years of controversial storylines, most notably Heroes in Crisis, which had turned him into an accidental killer. The task wasn’t just to write a fun superhero book. It was to restore a character that fans had spent years grieving.

Adams pulled it off. By centering Wally’s story on family — his wife Linda, their kids Jai and Irey, and the broader Flash Family of speedsters — he reminded readers why the character had mattered in the first place. His run is now regarded as one of the best Flash comics in years, and one of the most successful character rehabilitation arcs in recent DC history.

A Voice Across Publishers

Adams hasn’t been limited to one corner of the DC universe. After his Flash run concluded, he moved to Green Lantern, bringing the same sense of legacy and forward momentum to Hal Jordan’s corner of the cosmos. He’s also contributed to Aquaman, Flashpoint Beyond, and co-written Green Lantern Corps, earning a multi-year exclusive deal with DC in the process.

His Marvel work — including Captain America and Iron Man — demonstrated that his ability to write iconic characters with clarity and confidence extends beyond any single publisher’s sandbox.

What ties it all together is a philosophy: comics should lead, not follow. Adams has been vocal about his belief that the source material — not the movies, not the merchandise — is where the real creative energy lives. That conviction shows up in his work, which always feels grounded in the history of its characters while pushing them somewhere genuinely new.