Marvel and DC Comic Legend Butch Guice Dies at 63 – Fans Mourn Co-Creator of Apocalypse

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Artist Jackson “Butch” Guice, a renowned figure in Marvel and DC comics since the early ’80s (who also co-created the legendary X-Men antagonist Apocalypse), has sadly passed away at the age of 63, as confirmed by James Hettel, Guice’s brother-in-law. Reports suggest that Guice had been battling some health issues.

In the early 1980s, Guice gained significant recognition as a prominent fanzine artist. During this time, he contributed to a “Rom Annual,” which eventually led him to secure his first consistent Marvel job – illustrating the “Micronauts” comic towards the conclusion of Bill Mantlo’s tenure on the well-liked toy-based series.

During that period, he also had a beautiful portfolio published in Marvel Fanfare #9…

With Bob Layton, Guice launched X-Factor for Marvel in 1986…

When Louise Simonson assumed control of the comic book from its sixth issue, artist Marc Silvestri (Guice) departed shortly afterward. However, prior to his departure, he and Simonson jointly created the legendary X-Men antagonist, Apocalypse.

During that timeframe, he worked on several issues of “New Mutants.” Additionally, he collaborated with Mike Baron on various projects owned by Baron (including a story about Hawk in “Teen Titans Spotlight”). Notably, Baron and Guice relaunched “The Flash” for DC Comics in 1987.

Currently one of the industry’s leading artists, Guice rejoined Marvel for a heartwarming reunion with Bob Layton. This collaboration takes place as Layton and David Michelinie reunite on the Iron Man comic series once again.

Prior to swiftly transitioning into co-creating “Doctor Strange, Sorcerer Supreme” alongside Roy Thomas and José Marzan Jr., I found myself immersed in a fresh start for the series about five issues in.

After his transition, Guice became part of the Nick Fury, S.H.I.E.L.D. agent team, and in 1990, he played a significant role in launching the critically acclaimed miniseries “Deathlok,” penned by Dwayne McDuffie and Gregory Wright. This series marked the introduction of a fresh Deathlok character for Marvel Comics.

After his departure, Guice made his way back to DC, assuming the pencil duties on “Action Comics.” Initially working alongside Roger Stern, he later teamed up with David Michelinie. Denis Rodier inked Guice’s work during this period. Guice served as the regular artist on the comic during the iconic “Death of Superman” storyline, as well as its sequels “Funeral for a Friend” and “The Reign of the Supermen.” During these storylines, Guice and Michelinie introduced a fresh interpretation of the Eradicator character.

Michelinie and Guice got to do an epic Action Comics #700 together…

During the mid-1990s, after acquiring Valiant, Acclaim attempted an innovative strategy by offering substantial financial resources to well-known comic book creators, resulting in the collaboration between Jim Lee Guice and John Ostrander on the series Eternal Warrior.

Following stints on several other Valiant publications, Guice came back to DC and Marvel with a grand entrance through the DC/Marvel: All Access miniseries, a sequel to the hit DC vs. Marvel crossover series…

He then created Resurrection Man for DC with Dan Abnett and Andy Lanning…

When that series ended, he became the regular artist on Birds of Prey with Chuck DIxon…

At its debut, CrossGen extended enticing invitations to seasoned artists much like Valiant did in the past. Notably, both Guice and Dixon accepted these offers. Guice achieved some of his finest work on the series “Ruse” collaborating with Mark Waid, Mike Perkins, and Laura Martin. This collaboration garnered Guice a nomination for an Eisner in the Best Art Team category.

After Crossgen ceased operations, Guice moved back to Washington D.C., where he worked on the series “JLA Classified“, followed by a reboot of “Aquaman” in collaboration with Kurt Busiek as part of DC Comics’ “One Year Later” initiative.

Later, Guice collaborated again with artists Steve Epting and Mike Perkins, this time under Ed Brubaker’s acclaimed tenure on Captain America. This partnership earned another Eisner nomination for the best art team. During this period, Guice contributed both inking and penciling work.

In the year 2009, Guice collaborated with Dixon on a mini-series titled “Storming Paradise”, which I bring up merely because I am aware that Butch held a particular fondness for this series.

Over the span of several years during Brubaker’s extended tenure with the comic, they intermittently worked on Captain America. Eventually, in 2012, Guice and Brubaker initiated a standalone “Winter Soldier” series.

Throughout the past decade, Guice has contributed to numerous books, not just limited to Marvel, but also other companies like the revitalized Valiant. His final ongoing series for Marvel was “Invaders” in 2018, collaborating with writer Chip Zdarsky.

Guice’s last series was the independent comic book, The Futurists, in 2020…

Here’s a cover Guice did for a Captain America: Theater of War comic book…

I share that because of what his brother-in-law had to say about it:

This artwork, created by my brother-in-law, Jackson “Butch” Guice, is a cover he designed for a Captain America series he was working on at Marvel Comics. Take note of the insignia on the left shoulder of the soldier in the front of the V-shaped formation – it’s the emblem of my former unit, the 478th Combat Engineers.

Among numerous prestigious and renowned military units worldwide, Butch opted to acknowledge my unit on the cover of his comic. His decision was a reflection of who he is – thoughtful, considerate, and loyal – traits that have defined him throughout his life.

Cherished his family deeply, always providing tender care and affection for both my sister and niece without reserve. He never abandoned me during tough times and always had a witty remark at the ready. Honest and straightforward, whether in actions or words. Reserved by nature, but when there was a need to speak up, he did so decisively.

Across the board, people admired his exceptional skill in transforming simple pencil lines into vivid, lifelike artworks that seemed ready to leap from the page and deliver a surprising punch. These were undoubtedly genuine masterpieces.

Beyond just that, they were certain they’d receive a genuine response from Butch, not a rehearsed, overly polite, or diluted version of the truth. They knew they’d get the authentic answer they required.

1. He won the admiration of his colleagues due to their confidence in him and his promises. Whatever medium he was using, his work stood firm, and its authenticity was evident through the final product. However, as with many things today, a man’s word can be questionable at best.

2. His peers valued him because they believed in his trustworthiness and promises. In every medium he worked with, his creations held strong, and their authenticity was clear in the finished piece. But like many things today, a man’s word can be uncertain at best.

With regards to Mr. Jackson Guice, anything he tells you can be considered as reliable as a bank deposit. Whenever I’d seek his opinion on something, he’d give me a thorough examination before asking, “are you absolutely certain about this?”, followed by providing detailed insights.

Butch is robust, reliable, and commanding, with a straightforward approach that encourages perseverance. He is affectionate, particularly toward his family, whose well-being he values immensely. If he perceives any harm coming their way, he reacts swiftly and fiercely, much like an avalanche descending from a mountain.

He’s precisely the type of gentleman I’d choose to care for and safeguard my sister, and I’m grateful for that. Thank you, Lord, for the opportunity to get to know and spend time with Butch.

Hooah brother! Save me a seat on the bank by the water.

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2025-05-02 03:09