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Jackson Guice
Jackson Guice
Jackson Guice
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Jackson "Butch" Guice (June 27, 1961 – May 1, 2025) was an American comics artist who worked in the comics industry beginning in the 1980s. He drew Micronauts, Swords of the Swashbucklers, X-Factor, The New Mutants, and Iron Man for Marvel Comics. His work for DC Comics included "The Death of Superman" storyline as well as the co-creation of the Resurrection Man with writers Andy Lanning and Dan Abnett.

Key Information

Life and career

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Guice was born in Chattanooga, Tennessee, on June 27, 1961.[1][2] Growing up in the 1960s, Guice was fond of "the legendary stop-motion animator and filmmaker" Ray Harryhausen, whose influence can be seen in some of Guice's work, most notably the Humanoids project Olympus.[3]

1980s

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Guice began his career with fanzine work and "designing patches and emblems for a small company in North Carolina."[4] His first credited comics work was penciling and inking the independently published The Crusaders #1 (November 1982), although he had previously ghosted for Pat Broderick on Rom Annual #1 (1982).[5] On the strength of his fanzine work, (and, Guice believes, at the behest of Rom writer Bill Mantlo) Marvel editor Al Milgrom offered him a tryout on the toy-spin-off title Micronauts. Referring to Rom Annual #1 and Micronauts #48 (Dec. 1982), he remarked that "[b]oth were breaking points for me getting into comics".[4]

Guice continued penciling Micronauts until #58 (May 1984).[6] In July 1983, "The Butch Guice Portfolio" appeared in the pages of Marvel Fanfare #9, and Guice contributed to The Official Handbook of the Marvel Universe, Chris Claremont and Bill Mantlo's X-Men and the Micronauts four-issue miniseries as well as occasional issues of a number of different titles. In 1984, he drew the Marvel Comics adaptation of Indiana Jones and the Temple of Doom and inked Dazzler. In 1986, he penciled X-Factor,[7] while concurrently contributing pencils to The New Mutants. In mid-1987, he was credited with inks to "Brian Guice" 's pencils for five issues of Adventure Publications' Adventurers, which was written and edited by Scott Behnke. That same year, Guice collaborated on several different titles with writer Mike Baron, including issues of First Comics' Badger, Nexus and The Chronicles of Corum.[5] Guice worked with Baron on projects for DC Comics. He penciled Teen Titans Spotlight #7 and #8, before gaining more popularity among DC readers with his work on the relaunched, post-Crisis on Infinite Earths The Flash #1.[8] This third Flash series featured Wally West after the demise of Barry Allen in the Crisis on Infinite Earths series. Guice drew ten of the first eleven issues.

In 1988–89, Guice produced a series of covers for the Quality Comics/Fleetway 2000 AD reprint-title 2000AD Showcase, while penciling the Iron Man title for Marvel. In 1989 he became the artist on Doctor Strange, Sorcerer Supreme.

1990s

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Guice's cover for Doctor Strange #15 (March 1990) used Christian music singer Amy Grant's likeness without her permission,[9] leading to her management filing a complaint against Marvel Comics, saying the cover gave the appearance she was associating with witchcraft. A US District Court sealed an out-of-court settlement between Grant and Marvel in early 1991, with a consent decree that Marvel did not admit to any liability or wrongdoing.[10][11][12]

Guice and writer Walt Simonson co-created the Ahab character in Fantastic Four Annual #23 (1990).[13] In 1991, Guice took over penciling Nick Fury, Agent of S.H.I.E.L.D., before moving back to DC. Guice drew Action Comics #676–711 (April 1992–July 1995) and worked with writers Roger Stern and David Michelinie. During this run, Guice and Stern (along with editor Mike Carlin, Dan Jurgens, Louise Simonson and others) were the architects of "The Death of Superman" storyline, in which Superman died and was resurrected. Stern and Guice incorporated the Eradicator character into the "Reign of the Supermen" story arc beginning in The Adventures of Superman #500 (June 1993).[14] Spinning out of that event, Stern and Guice collaborated on a Supergirl miniseries.[5]

While drawing Action Comics, he also worked with writer James Robinson on Dark Horse Comics' The Terminator: Endgame miniseries (September–October 1992), and with Chris Claremont on the first four issues of the Aliens/Predator: The Deadliest of the Species (July 1993–January 1994).

Towards the end of 1995, Guice moved to Valiant Comics, becoming the regular penciller of Eternal Warrior. Guice penciled part of the Sliders: Narcotica comic book, based on the TV series Sliders and written by the show's star Jerry O'Connell. Having Guice draw the series was:

"a personal treat for Jerry [O'Connell] as "Butch" Guice (as he used to be called during his successful run at Marvel Comics) was a favorite of his during his comic-reading years."[15]

Guice illustrated the four-issue DC/Marvel: All Access mini-series[16] (December 1996–February 1997) follow-up to the cross-company DC Versus Marvel/Marvel Versus DC event. He was one of many artists to contribute to the landmark marriage of Superman and Lois Lane in Superman: The Wedding Album (December 1996). In May 1997, Guice launched Resurrection Man with writers Dan Abnett and Andy Lanning,[17] pencilling all 27 issues and inking most of them including the special #1,000,000 issue for the DC One Million event. The series was cancelled in August 1999.

2000s

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In March 2000, Guice became the artist on Birds of Prey for issues #15 to #34. In addition, Guice drew a "Robin and Oracle" story in Batman: Gotham City Secret Files and Origins and the Universe X Spidey one-shot, from Marvel. After his run on Birds of Prey, Guice left DC Comics and moved to Tampa, Florida to work for CrossGen. He was brought in to launch Ruse with writer Mark Waid, in November 2001. Effectively a Victorian steampunk detective story, although set on an analogue of Earth in the far-distant future, and part of CrossGen's 'Sigilverse'. Guice continued as the penciller of Ruse until its cancellation with #26 (January 2004). Guice resigned from CrossGen "just prior to the layoffs" and before the remaining staff were released from "exclusivity status".[3]

Writer Geoff Johns, "one of Humanoids' biggest supporters from the very beginning of [their] US publishing program," pitched a story with Kris Grimminger featuring "every great monster from Greek mythology, from Medusa to the Stymphalian Birds."[3] Humanoids editor Paul Benjamin began the search "throughout the world for a great artist who would appeal to both an American and a European audience. Butch was always on our mind for the book, but he was busy drawing Ruse for CrossGen. We began talking to Butch once he became available and Olympus was a perfect fit."[3]

Guice said of Humanoids and Olympus:

"I've been interested in working with Paul Benjamin and Humanoids for several years now... [their] approach to their material, both in quality and design of product as well as the extensive worldwide market they've cultivated with a variety of genres, held enormous interest for me. After my resignation from the CrossGen staff, I contacted Paul and we started talking about possibilities. Once I read the two scripts for Olympus, I knew it was exactly the type of thing I would enjoy drawing. Having it be written by Geoff and Kris was a very pleasurable bonus."[3]

Although intended as two volumes, to date, only the first has seen print. This is likely due to the lapsing of Humanoids US-distribution deal with DC,[18] as Guice said in December 2003, while working on Volume One that that book "wraps in March [2004]", which he then "scheduled to start work on volume two almost immediately".[3]

After leaving CrossGen, Guice worked with writer Warren Ellis on a six-issue story-arc entitled "New Maps of Hell" for DC's JLA: Classified title and then worked on the "One Year Later" revamp of Aquaman, in Kurt Busiek's Aquaman: Sword of Atlantis, debuting with #40 of the previous Aquaman title.[5] Guice stayed for eight issues, and Busiek said of his artist colleague:

"Aside from being a terrific artist and strong storyteller, Butch can really make you believe in the exotic fantasy worlds of the Atlantic oceanscape. And he draws a great King Shark -- and a creepy Dweller, to boot. And cool warriors, gorgeous women, strange creatures and more. He's the perfect guy for this book, and I've wanted to work with him for years."[19]

In 2007, Guice provided rotating art duties for The Invincible Iron Man, with issue #19–20's World War Hulk tie-in issue and became inker on Captain America for #32–34, and then taking over full duties as of #35. Guice penciled a miniseries taking place in the Ultimate Universe, entitled Ultimate Origins written by Brian Michael Bendis. Bendis wrote of Guice "I've been a fan of his for years and years, and when I saw what he was doing in Iron Man [with Gage]... I had to have him."[20] Guice was the penciler on the Wildstorm mini-series Storming Paradise, written by Chuck Dixon.

Personal life and death

[edit]

Guice and his wife Julie had a daughter named Elizabeth Diane, born in 1988.[21] He died of pneumonia on May 1, 2025, at the age of 63.[22][23][24] He was a resident of Reading, Ohio, at the time of his death.[25]

Awards

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Guice received an Inkpot Award in 2015.[26]

Bibliography

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Jackson Guice

View on Grokipedia
from Grokipedia
Jackson Guice, known professionally as Butch Guice, is an American comic book artist renowned for his exceptional draftsmanship, cinematic storytelling, and distinctive blend of naturalistic realism with dynamic superhero action. Born on June 27, 1961, in Chattanooga, Tennessee, he entered the industry in the early 1980s and first rose to prominence at Marvel Comics with his work on Micronauts in 1982. Guice went on to make significant contributions to DC Comics over multiple decades, where he illustrated acclaimed runs on titles such as The Flash, Action Comics, and Birds of Prey, and co-created the series Resurrection Man. His artwork is widely praised for its clear narrative flow, detailed illustrative panels that function as standalone compositions, and timeless style that balances believability with high-energy sequences, earning admiration from peers for its consistent evolution and avoidance of fleeting trends. Beyond DC and Marvel, where he also worked on series including Captain America and Ultimate Origins, Guice contributed to projects like Ruse at CrossGen and Aliens vs. Predator: Deadliest of the Species, demonstrating his versatility across genres and publishers. Regarded as a consummate professional, mentor, and humble collaborator, he influenced generations of artists through his commitment to craft and dedication to each project. Guice passed away on May 1, 2025, after a career spanning more than four decades that helped shape modern comic book art.

Early life

Early life and entry into comics

Jackson "Butch" Guice was born on June 27, 1961, in Chattanooga, Tennessee. He grew up immersed in classic adventure comic strips, comic books, and science fiction movies, developing a particular admiration for Ray Harryhausen's stop-motion animation work, which later influenced some of his own projects. Among his early artistic influences were adventure strip creators such as Milton Caniff, whose work on Terry and the Pirates stood out alongside other classic illustrators. Guice showed early talent by contributing covers to The Comics Buyer's Guide beginning at age 16, with his first appearing in December 1977. He also participated in fanzine work and attended comic conventions, where he networked with professionals and received encouragement despite criticism of his developing skills. During this period, he supported himself by designing patches and emblems for a company while pursuing his art. In 1982, Guice secured his first professional comic credit as an uncredited assistant penciler (ghosting) to Pat Broderick on Marvel's Rom Annual #1. That same year, he penciled the self-published independent title The Crusaders #1, created by writers Henry and Audrey Vogel (later rebranded as Southern Knights with its second issue). These early opportunities marked his entry into professional comics and led to his breakthrough assignment on Marvel's Micronauts.

Career

1980s

Jackson Guice established himself as a prominent penciller and inker in the American comic book industry during the 1980s, beginning with his debut major ongoing assignment at Marvel Comics. His run as penciller on The Micronauts from issue #48 (December 1982) to #58 (May 1984) marked his breakthrough, where he handled the bulk of the art duties on the series. He followed this with contributions to the limited crossover series X-Men and the Micronauts #1–4 (1984), collaborating with writer Chris Claremont and penciller Paul Neary on some issues. Guice also provided pencils and inks for the comic book adaptation Indiana Jones and the Temple of Doom in 1984. In 1986, he worked on several issues of X-Factor (#1–3, 5–7), contributing pencils during the series' early run, including co-creating the villain Apocalypse with writer Louise Simonson in issue #5. ) He then penciled a significant stint on The New Mutants, covering issues #40–42, #44–48, and #50 between 1986 and 1987, working alongside writers like Chris Claremont and Louise Simonson. In 1987, Guice transitioned to DC Comics, where he launched the new The Flash vol. 2 series as penciller on issues #1–11 (1987), teaming with writer Mike Baron to feature Wally West as the lead Flash in a series that emphasized speedster action and character development. Returning to Marvel in the late 1980s, he penciled and inked Iron Man #231, #233–240 (1988–1989), contributing to storylines involving Tony Stark's ongoing adventures and armor upgrades. Guice also served as penciller on Doctor Strange, Sorcerer Supreme #5–16, #18, and #20–24 (1989–1990), collaborating with writers like Roy Thomas on mystical and dimensional threats. Outside the major publishers, he illustrated the graphic novel Swords of the Swashbucklers and contributed early work for First Comics, including series such as Badger and Nexus.

1990s

In the 1990s, Jackson Guice became a major figure in DC Comics' Superman line, delivering some of his most prominent work on the flagship titles. He served as the primary penciler on Action Comics from issue #676 (April 1992) to #711 (July 1995). This extended run encompassed key contributions to the landmark "The Death of Superman" crossover storyline in 1992 and the follow-up "Reign of the Supermen!" arc in 1993, where his artwork helped illustrate the dramatic death of Superman and the appearance of multiple replacement Supermen. Guice also provided pencils for Adventures of Superman #500 (June 1993), which featured the introduction of the Eradicator as a central character in the post-Death narrative. Later in the decade, Guice co-created Resurrection Man with writers Dan Abnett and Andy Lanning, serving as penciler on all 27 issues of the series as well as the special Resurrection Man #1,000,000, published between 1997 and 1999. Guice's other notable 1990s credits included a stint on Nick Fury, Agent of S.H.I.E.L.D. #20–28 (1991), the Dark Horse miniseries Terminator: Endgame (1992), Aliens/Predator: Deadliest of the Species #1–4 (1993–1994), and the crossover miniseries DC/Marvel: All Access #1–4 (1996–1997). He also began his run on Birds of Prey with issue #15 in 2000.

2000s

In the 2000s, Jackson Guice worked across multiple publishers, beginning with the co-creation of the CrossGen series Ruse alongside writer Mark Waid. The title launched in November 2001 and concluded in January 2004 after 26 issues, with Guice providing the interior artwork for a Victorian-inspired detective story set in a world where magic is scientifically explained and widely used. Ruse earned multiple Eisner Award nominations, including for Best New Series in 2002. Guice next illustrated the graphic novel Olympus for Humanoids Publishing, released in 2005 as volume 1 only. He returned to DC Comics to draw the "New Maps of Hell" arc in JLA: Classified, written by Warren Ellis and published across several issues from late 2005 into 2006. Guice then contributed artwork to Aquaman: Sword of Atlantis, handling issues #40–47 from 2006 to 2007. Shifting to Marvel Comics later in the decade, Guice penciled issues #19–20 and #23–25 of The Invincible Iron Man between 2007 and 2008. He subsequently inked Captain America starting with issue #32 in 2008, later assuming full art duties on issues #32–34 and continuing into 2009. In 2008, Guice also illustrated the complete five-issue miniseries Ultimate Origins, collaborating with writer Brian Michael Bendis.

2010s and 2020s

In the 2010s and 2020s, Jackson Guice focused primarily on Marvel Comics assignments while making occasional returns to DC, maintaining a selective output that emphasized key character-driven projects. Guice contributed extensively to the Captain America franchise in the early 2010s, providing pencils and inks on Captain America issues #602–610, 612–615, and 617–619, along with the miniseries Captain America: Reborn #1–6. This built upon his prior work on the title from the late 2000s, including volume 5 issues #32–37, 45, and 47–48, as well as #600. In 2012–2013, he served as the main artist on the Winter Soldier series, handling pencils and inks for issues #1–5 and #10–14. Later Marvel credits included pencils and inks on Black Panther and the Crew (2017), The Hunt for Wolverine: Claws of a Killer (2018), Invaders vol. 3 (2019–2020), and Immortal Hulk #34 (2020). At DC, Guice inked a segment in Action Comics #1000 (2018) and contributed artwork to The Death of Superman 30th Anniversary Special #1 (2023). He also had minor uncredited character or creator contributions to animated projects such as Young Justice (2012) and Justice League x RWBY (2023). Guice's output became more limited in his final years, concentrating on select one-offs and commissions.

Personal life

Family and personal interests

Guice was married to Julie, who was described as a beloved wife and a constant beacon of support and love throughout their shared journey. The couple had one daughter, Elizabeth Diane. Guice resided in Reading, Ohio, near Cincinnati, at the time of his death. He was also survived by his mother, Diane Carter, and brothers, Brian and Jeff, and was predeceased by his father and sister. He possessed a deep enthusiasm for comics history, with a particular passion for classic newspaper adventure strips such as Terry and the Pirates and the work of Noel Sickles. He was also fond of Ray Harryhausen's stop-motion fantasy films, the Thin Man movie series, the 1960s British television series The Avengers featuring John Steed and Emma Peel, and World War II history. Described as shy and easy-going with a low public profile, Guice was widely regarded as humble, kind, and generous. He often served as a patient mentor to younger artists, enthusiastically sharing his knowledge of classic comic strips and influences. Colleagues remembered him as a sweet, loyal, and no-nonsense professional with a dry, biting sense of humor and a rasping laugh that underscored his Southern charm.

Death

Passing and legacy

Jackson "Butch" Guice passed away on May 1, 2025, at the age of 63 in Cincinnati, Ohio, after a prolonged bout with pneumonia. He was survived by his wife, Julie, and his daughter, Elizabeth. Guice received the Inkpot Award in 2015, recognizing his significant contributions to the comics industry. In the wake of his death, tributes from collaborators and industry peers highlighted his exceptional talent and personal qualities. Ed Brubaker, Kurt Busiek, and former DC editor Mike Carlin were among those who praised his outstanding draftsmanship, unwavering reliability, realistic style, and generosity as a mentor to emerging artists. Dan Jurgens described him as remarkably accomplished and smooth across genres, capable of making characters and settings feel deeply authentic. Joe Illidge commended his skill in rendering human drama with the same beauty and gravitas as dynamic superhero action, noting him as an old-school gentleman. Kelley Jones credited Guice's early mentorship for helping launch his own career, calling him exceptionally talented and kind-hearted. Though often described as underappreciated relative to his consistent excellence, Guice's work left a lasting impact through titles including retrospectives on The Death of Superman and the acclaimed series Ruse, cementing his reputation as one of the most reliably skilled illustrators in modern comics.
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