Gambit runs: the end of the Gambit run Chris Claremont (1990-1991) who installed it; the passage of Jim Lee on X-Men (1991-1992) which made him popular; there 1993 miniseries ; there long series from 1999; and modern attempts, all short.
This classification presents an anomaly: the most decisive segment of the file is not the best written. This is the one where a designer rendered the character desirable, which has nothing to do with the quality of the story.
On this issue, the image did more than the text, and this must be taken into account to understand the prices.
Top 1: Chris Claremont (Uncanny X-Men, 1990-1991)
Screenwriter: Chris Claremont
The period which establishes the character, and the only one where its construction follows a plan.
It is written as an enigma: a hidden past, a skill that stands out in a superhero team, and a suggested link with a previous event in the franchise.
This corpus places this segment at the top for a specific reason: it is the only period where the question asked by the character remains intact. Everything that follows will attempt to answer it, and no answer will be worth the question.
Segments to target: the numbers from 1990-1991 excluding identified keys, very accessible.
Top 2: Jim Lee (X-Men, 1991-1992)
Designer: Jim Lee
The segment that made the character a leading figure, and it did graphically.
The line, the silhouette, the costume: it is this version which circulated everywhere afterwards, and which served as a reference for all subsequent variations.
This corpus shows what this implies for a collector. On this issue, a significant part of the request concerns a appearance rather than on a story: which explains the promotion of issues whose narrative content is thin.
⚠️ These numbers belong to the period of very high circulations: abundant, and demanding on the grade.
Top 3. The 1993 miniseries
The first title in his name, published at the height of the overproduction period.
It has the merit of treating the character alone, and the drawback of arriving at a time when the publisher was launching derivative series at an industrial pace.
Very minted, therefore without rarity. It comes together in its entirety for almost nothing.
Top 4. The 1999 long series
The most serious attempt to give the character an autonomous existence, with enough time to develop something.
It belongs to an unloved period in the catalog, which makes it very accessible, and it is the best content-price ratio in the file.
Top 5: Modern series
Several short relaunches, at different times, with varied creative teams.
None lasted long enough to establish themselves, which in itself constitutes information on the file: the character works better in supporting role, where its ambiguity has something to contradict.
Recent and abundant. ⚠️ Many alternative covers.
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A practical remark that arises from the chronology.
Everything after 1991 belongs to periods of very strong print runs. These segments (the miniseries, the long-form series, the modern revivals) make up the majority of the file's content, and they come together for a pittance.
The expensive segment is limited to a handful of 1990-1992 issues.
This corpus therefore recommends a two-step approach: first build up all the recent content, which costs nothing, then decide what you want to pay for the few old issues.
This is all the more appropriate here as the value of the file is largely based on a picture rather than on stories: a collector can perfectly own everything that has been written about the character without holding any expensive number.
For number-by-number selection, see our key numbers and our collection guide.
Track each run and identify missing numbers with our collection management application.
Where to start with Gambit: reading and collecting markers
The ranking above compares segments. Here is how to find your way in practice, with verified edition markers, whether you read for pleasure or collect.
The entry point: Uncanny X-Men #266
Gambit's first full appearance is Uncanny X-Men #266 (August 1990), in the story titled Gambit: Out of the Frying Pan, written by Chris Claremont and drawn by Mike Collins. The next issue, Uncanny X-Men #267, is partly drawn by Jim Lee: this is where the line that will make the character a leading figure settles in. Reading these two issues in order gives the riddle (Claremont) then the image (Lee), exactly the two segments at the top of this ranking.
A simple reading order
- Step 1: 1990-1991. Claremont's Uncanny X-Men issues, to understand why the character intrigues.
- Step 2: 1991-1992. Jim Lee's time on the X-Men series, for the version that served as the model for later takes.
- Step 3: the 1993 miniseries. It came out in December 1993, written by Howard Mackie and drawn by Lee Weeks, and treats the character on his own, with his family.
- Step 4: the 1999 series. It opens in February 1999 and remains the most lasting attempt at an independent life.
Four collecting markers
- Tell appearance from popularity. A 1990 issue can be the character's origin without being the famous version: Lee's art arrives one issue later.
- Mind condition for 1990-1992. Print runs were very high: there are many copies, but few in excellent condition. Look at corners, spine and the white of the cover.
- Check the printing. The late-1990s relaunches exist with several covers; the rarest alternative is not always the one the listing highlights.
- Buy recent material in lots. The miniseries and short relaunches are completed in a few purchases, which lets you focus on the handful of older issues.
One last reader's tip: Gambit works best in an ensemble, where his ambiguity has something to contradict. Alternate his own issues with those of the X-Men teams of the same period, and you will see the character in his best role.
Frequently asked questions
In Uncanny X-Men #266 (August 1990), written by Chris Claremont. He is written there as a riddle: a hidden past and a skill that clashes with a superhero team.
Jim Lee's time on X-Men (1991-1992). The line, silhouette and costume of that version circulated everywhere and served as the reference for later takes. A large part of the demand is therefore for an appearance rather than a story.
The end of Chris Claremont's run (1990-1991), the only one where the character's construction follows a plan. Everything that follows tries to answer the question he poses, with no answer worth the question.
The 1999 series, the most serious attempt to give him an independent existence. It belongs to an unloved period of the catalog, which makes it very accessible and gives the best content-for-money ratio of the file.
In two steps: first gather all the recent content, which costs almost nothing, then decide what you want to pay for the few older 1990-1992 issues. You can own everything written about the character without holding a single expensive issue.