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Wolverine/Gambit #1-4
Wolverine/Gambit: Victims
Collects Wolverine/Gambit: Victims #1-4. Wolverine and Gambit have been drawn together by a string of brutal slayings that may mark the return of the 19th-century serial killer called Jack the Ripper! Is it merely coincidence that finds Remy and Logan in London, or does one of these enigmatic outsiders have an ulterior motive?
112 pages, Kindle Edition
First published January 1, 1997
22 people are currently reading
296 people want to read
About the author
Jeph Loeb
1,281 books1,374 followersJoseph "Jeph" Loeb III is an Emmy and WGA nominated American film and television writer, producer and award-winning comic book writer. Loeb was a Co-Executive Producer on the NBC hit show Heroes, and formerly a producer/writer on the TV series Smallville and Lost.
A four-time Eisner Award winner and five-time Wizard Fan Awards winner (see below), Loeb's comic book career includes work on many major characters, including Spider-Man, Batman, Superman, Hulk, Captain America, Cable, Iron Man, Daredevil, Supergirl, the Avengers, and Buffy the Vampire Slayer, much of which he has produced in collaboration with artist Tim Sale, who provides the comic art seen on Heroes.
A four-time Eisner Award winner and five-time Wizard Fan Awards winner (see below), Loeb's comic book career includes work on many major characters, including Spider-Man, Batman, Superman, Hulk, Captain America, Cable, Iron Man, Daredevil, Supergirl, the Avengers, and Buffy the Vampire Slayer, much of which he has produced in collaboration with artist Tim Sale, who provides the comic art seen on Heroes.
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Displaying 1 - 30 of 101 reviews
June 30, 2024
A very meh story from Loeb, feels rushed.
But Sale's art.. wow.
But Sale's art.. wow.
March 30, 2011
I guess I expected more from a Loeb/Sale team-up. Loeb's story is meh, and Sale's artwork makes Gambit look like a poofy-haired zombie.
July 8, 2021
This is a self-contained team-up adventure, pleasantly devoid of other references or continuities. Remy goes to London to investigate a string of serial killings and finds Logan to be the most likely suspect. The art is quite good for the most part, though I found some of the lettering to be indecipherable. I never thought Arcade was a very impressive super-villain, but Mastermind here is quite imposing. It's a fast, fun read. Excelsior!
May 30, 2021
This was pretty okayish and it starts off with Gambit going to London and finding that his former love Alexandra, a police woman was murdered and thus begins the quest of him trying to find out about other victims, escaping from Scotland Yard and then finding Wolverine maybe involved, fighting him and then finding how Lady Mastermind and Arcade maybe involved in that and the ending there! Good fun story, delves into what makes these character stands out and its the usual vs before the team up and the villain and her explanation makes sense and is a good fun time evening read maybe.
July 27, 2017
English (but not so good) / Italiano
Nice animated story, which even mention Jack the Ripper, with two (manipulated) protagonists who give a brilliant temperament proof.
Italiano
Bella storia movimentata, che cita addirittura Jack lo Squartatore, con due (manipolati) protagonisti che danno una brillante prova di carattere.
Nice animated story, which even mention Jack the Ripper, with two (manipulated) protagonists who give a brilliant temperament proof.
Italiano
Bella storia movimentata, che cita addirittura Jack lo Squartatore, con due (manipolati) protagonisti che danno una brillante prova di carattere.
January 19, 2024
Some of the dialogues are worse than Anakin's flirting in Attack of the clones.
June 30, 2018
An okay read. So I was organizing the massive x-men collection my mom gave me and I found this series, and any series by the famed team of Jeph Loeb and Tim Sale is guaranteed to be awesome! Right? Well not always. So the story here has Gambit come to London when an old flame is murdered and Wolverine might just be the killer?
To start with what I liked, I love Tim Sales artwork; this may not be his best work, but I love the way he draws Wolverine and many of the other characters and the coloring is fantastic! The story as well is fun enough, its not anything spectacular but its enjoyable.
Negatives, for one I don't like how Gambit was drawn, he looked very slender and zombie like looking. Its the only real negative to Tim Sales artwork. The story as well, while fun, its not no where near as good as Long Halloween, or any of the other amazing stories this team did! Like I said, this was an enjoyable read, just don't come in expecting Long Halloween or anything.
To start with what I liked, I love Tim Sales artwork; this may not be his best work, but I love the way he draws Wolverine and many of the other characters and the coloring is fantastic! The story as well is fun enough, its not anything spectacular but its enjoyable.
Negatives, for one I don't like how Gambit was drawn, he looked very slender and zombie like looking. Its the only real negative to Tim Sales artwork. The story as well, while fun, its not no where near as good as Long Halloween, or any of the other amazing stories this team did! Like I said, this was an enjoyable read, just don't come in expecting Long Halloween or anything.
May 1, 2022
Very "meh." Some of the artwork was wonky, particularly some of the images of Gambit. Story had an interesting premise (modern day Jack the Ripper), but I the story felt rushed to me to squeeze it into four issues.
December 13, 2016
I love Gambit's cajun accent. These 2 are interesting together.
December 25, 2018
Early Loeb/Sale team up. It's ok but nowhere near as good as their Batman work.
February 11, 2024
It’s a swiftly told tale before writing for the trades was the norm, but this early collaboration between two creative legends still has dark charm.
January 26, 2024
Jeph Loeb and Tim Sale got bored between Batman projects. Loeb's main ability is how he can put together a plot to play to the strengths of his artist, but here he's just hobbling it with the benefit of not having to stick to the current continuity. Sale fares worse, with his usually artful work on unsexy characters and mired by the blotchy color production of the time. It was better than any X-Men book at the time, but that's not saying much.
August 9, 2025
(Zero spoiler review)
A flawed yet enjoyable little romp, absolutely elevated by the fantastically talented Tim Sale. I could go on, but that sums it up rather nicely. Brevity is wit, as they say. Well worth checking out. 4/5
OmniBen.
A flawed yet enjoyable little romp, absolutely elevated by the fantastically talented Tim Sale. I could go on, but that sums it up rather nicely. Brevity is wit, as they say. Well worth checking out. 4/5
OmniBen.
September 20, 2015
I did originally think this was a 3/4 star book but the more I thought about it, the more I think it was a middle of the road story overall meaning a 3 star rating. The pacing was a little all over the place and the artwork wasn't up to the standard that I'm used to from Tim Sale. I liked the links to Jack the Ripper and I think the ending was exciting and well done, but there was a lot of mixed stuff to get through to get to that point.
March 29, 2013
Incoherent time skips...
August 1, 2024
Before their work in “The Long Halloween”, “Dark Victory”, and “When in Rome” for DC Comics, iconic comic book duo, Jeph Loeb, and Tim Sale worked for Marvel Comics in a peculiar title, quite unknown even for most hardcore fans of the X-Men. Set in between Uncanny X-Men #324 and #325, while Wolverine appears between issues #92 and #93 of his series, this title reunites two of the most popular mutants, Wolverine, and Gambit, on a journey to London, looking for a new “Jack the Ripper” type of killer who has already murdered five women, amongst them, a close friend of Gambit’s, Alexandria Davies, who happens to also be an undercover detective looking for the murderer. But things will complicate after Gambit realizes Wolverine is the prime suspect of these killings, and a mysterious woman- apparently sent by Nick Fury from SHIELD-, appears to be the key to uncover the real criminal, who in reality, is a former villain of the X-Men.
In good tradition with Loeb’s old-school stories- particularly the ones in which he collaborated with Sale-, the plot surrounds a mystery, pretty much in noir fashion, and the main setting of London is a proper scenery for this. Usually, I’d expect Loeb to handle characters in the likes of Batman, so having a crossover adventure between Wolverine, and Gambit, in a genre that detaches from what we were used to, feels peculiar and fresh to a degree. Sure, the story turns quite the Marvel way near the end, after the villain’s reveal, but the consistent feel throughout these four issues feels distinctive. The real standout in this title has to be Sale, who excels in every single panel he works on. Adding the colors of Gregory Wright- who has been a collaborator with Sale-, and the art department delivers in every aspect. Also, at first, I thought I’d feel uncomfortable, or weird, with Sale’s versions of both, Wolverine and Gambit, but he dominates the designs; Wolverine looks aggressive and brutal, and Gambit, while at times his face sort of distorts oddly, maintains the swagger and style so characteristic of his persona. For the two foes appearing in this, one being a female, as always, Sale does his best to expose how sensual and neat his pin-ups are. It is strange, but while some traits in Sale’s human faces can be perceived as aggressive, even rough, adding the excess of shadows in them, however, part of his style and appeal relays precisely on those elements, and women have always been a huge highlight in his work. Also, I personally love how sharp and creepy some of his villain-designs are, and the character that turned out to be behind the plot acquired those aspects, pretty much like Sale’s version of “The Joker”.
The mini-series isn’t perfect, though; Loeb always had issues with developing his characters, even the main ones sort of feel left aside from actual insight and depth, and his priorities mostly are linked with moving the plot forward to escalate the mystery, although, there’s just something about his collaboration with Sale in which those elements seem to be improved, maybe because of how good he is at visual storytelling, and how captivating his artwork is, it truly is a case in which both creators complement each other. This one is no exception, and the best I can grab from Loeb’s script is the companionship developed between Wolverine and Gambit, but aside from the villain’s twist, there’s really not much to add to the experience. It is a title that excels in its art department, and it might be its strongest suit, but it doesn’t posses the engagement and memorable experience provided by future Loeb/Sale titles, such as the Batman ones, or the Color-Trilogy for Marvel. Not a standout work, but the art is worth the addition to anyone’s collection.
In good tradition with Loeb’s old-school stories- particularly the ones in which he collaborated with Sale-, the plot surrounds a mystery, pretty much in noir fashion, and the main setting of London is a proper scenery for this. Usually, I’d expect Loeb to handle characters in the likes of Batman, so having a crossover adventure between Wolverine, and Gambit, in a genre that detaches from what we were used to, feels peculiar and fresh to a degree. Sure, the story turns quite the Marvel way near the end, after the villain’s reveal, but the consistent feel throughout these four issues feels distinctive. The real standout in this title has to be Sale, who excels in every single panel he works on. Adding the colors of Gregory Wright- who has been a collaborator with Sale-, and the art department delivers in every aspect. Also, at first, I thought I’d feel uncomfortable, or weird, with Sale’s versions of both, Wolverine and Gambit, but he dominates the designs; Wolverine looks aggressive and brutal, and Gambit, while at times his face sort of distorts oddly, maintains the swagger and style so characteristic of his persona. For the two foes appearing in this, one being a female, as always, Sale does his best to expose how sensual and neat his pin-ups are. It is strange, but while some traits in Sale’s human faces can be perceived as aggressive, even rough, adding the excess of shadows in them, however, part of his style and appeal relays precisely on those elements, and women have always been a huge highlight in his work. Also, I personally love how sharp and creepy some of his villain-designs are, and the character that turned out to be behind the plot acquired those aspects, pretty much like Sale’s version of “The Joker”.
The mini-series isn’t perfect, though; Loeb always had issues with developing his characters, even the main ones sort of feel left aside from actual insight and depth, and his priorities mostly are linked with moving the plot forward to escalate the mystery, although, there’s just something about his collaboration with Sale in which those elements seem to be improved, maybe because of how good he is at visual storytelling, and how captivating his artwork is, it truly is a case in which both creators complement each other. This one is no exception, and the best I can grab from Loeb’s script is the companionship developed between Wolverine and Gambit, but aside from the villain’s twist, there’s really not much to add to the experience. It is a title that excels in its art department, and it might be its strongest suit, but it doesn’t posses the engagement and memorable experience provided by future Loeb/Sale titles, such as the Batman ones, or the Color-Trilogy for Marvel. Not a standout work, but the art is worth the addition to anyone’s collection.
August 12, 2025
The Loeb and/or Sale at Marvel was never quite the Loeb and/or Sale at DC. Some of this is obvious. They’re the top superhero comics publishers, but they’re not the same. The bulk of Loeb and Sale’s Marvel work is a series of fairly maudlin takes on the defining tragedies of the company’s biggest stars. Wolverine/Gambit: Victims is a bit more like Loeb’s other Marvel work, a bit more…savage.
For Marvel fans, Loeb is the creator of Red Hulk, but he’s also the dude who wrote Ultimatum, the bloody concluding chapter of the original Ultimate Comics line. There wasn’t much room for subtlety, there, and Marvel fans, subsequently, never forgave him, and for a while, that actually became his epitaph.
At DC, before Superman/Batman, his last popular triumph, Loeb of course had “Hush,” and his Batman comics with Sale (and Superman: For All Seasons), and that’s where he’s mounted a much-deserved comeback recently.
Lost in that is Wolverine/Gambit, which is kind of like his Marvel spotlight tales mixed up with the bombast material. I can envision the editorial department making suggestions. It’s lost in the shuffle, that Ultimatum was probably an editorial suggestion. How could it’ve been anything else?
It’s short, brutal, and wants to achieve a lot of things, and doesn’t quite nail any of them. If it had been just a Gambit story, which I’d like to believe, because that’s the story Loeb seems most interested in telling, it would’ve worked so much better. The Wolverine story is a reminder of the classic Wolverine stories that at that point were decades in the past, and definitely editorially mandated to work in whatever was happening in the comics at the time, whatever the current reason to have Wolverine feel his primal oats. Well. So he’s there, too, and both heroes are struggling with their pasts and the present, but neither have enough time to explore that, or the crimes they’re investigating, or the villains they’re facing.
I’m not even sure the villains are explained well enough. But it’s all there, really. What’s really disappointing is that Tim Sale isn’t really given space to be Tim Sale. I suppose this was the real first step in getting Jeph Loeb to just write other stuff, unconnected to Sale, at Marvel again (he was a staff writer in the ‘90s, it tends to be overlooked, in the pages of Cable, of all titles).
Either way, if you stumble on this, like I did, it’s not a lost classic. It’s not bad. Loeb isn’t really capable of bad, despite what you hear. But he’s certainly capable of better.
For Marvel fans, Loeb is the creator of Red Hulk, but he’s also the dude who wrote Ultimatum, the bloody concluding chapter of the original Ultimate Comics line. There wasn’t much room for subtlety, there, and Marvel fans, subsequently, never forgave him, and for a while, that actually became his epitaph.
At DC, before Superman/Batman, his last popular triumph, Loeb of course had “Hush,” and his Batman comics with Sale (and Superman: For All Seasons), and that’s where he’s mounted a much-deserved comeback recently.
Lost in that is Wolverine/Gambit, which is kind of like his Marvel spotlight tales mixed up with the bombast material. I can envision the editorial department making suggestions. It’s lost in the shuffle, that Ultimatum was probably an editorial suggestion. How could it’ve been anything else?
It’s short, brutal, and wants to achieve a lot of things, and doesn’t quite nail any of them. If it had been just a Gambit story, which I’d like to believe, because that’s the story Loeb seems most interested in telling, it would’ve worked so much better. The Wolverine story is a reminder of the classic Wolverine stories that at that point were decades in the past, and definitely editorially mandated to work in whatever was happening in the comics at the time, whatever the current reason to have Wolverine feel his primal oats. Well. So he’s there, too, and both heroes are struggling with their pasts and the present, but neither have enough time to explore that, or the crimes they’re investigating, or the villains they’re facing.
I’m not even sure the villains are explained well enough. But it’s all there, really. What’s really disappointing is that Tim Sale isn’t really given space to be Tim Sale. I suppose this was the real first step in getting Jeph Loeb to just write other stuff, unconnected to Sale, at Marvel again (he was a staff writer in the ‘90s, it tends to be overlooked, in the pages of Cable, of all titles).
Either way, if you stumble on this, like I did, it’s not a lost classic. It’s not bad. Loeb isn’t really capable of bad, despite what you hear. But he’s certainly capable of better.
September 26, 2024
A fun action romp with two of the most popular X-men. This was a welcomed surprise Marvel miniseries that I couldn't resist getting to read. I have enjoyed the comic book series from this dynamic team of Jeph Loeb and Tim Sale for years. Like many fans I was sadden by the Tim Sale's passing. I'm not quite sure where this series falls in order of the duo's Marvel work. Loeb once again proves that he just gets the right tone for many of the popular Marvel or DC characters we all know and love. This book is no exception. The plot is simple enough. Gambit takes a trip to London to investigate the murder of a former lover who just so happened to a detective. The detective, named Alexandra, was hot in pursuit of a serial murderer of young women; that has Scotland yard and the local London law enforcement stomped. Loeb is a bit on the nose with the Jack the Ripper style murders. This leads to our suspect who to no surprise is Logan aka Wolverine. Bam! We have our plot and our heroes. Between the snappy dialogue and the occasional fight between Logan and Gambit we get a exciting quick pace read. The artwork is what you expect from Tim Sale. The colors work well with the tone of the book. My only real gripe is that the main villain, Arcade, was a bit one note. But he was really just fodder for Wolverine and Gambit to overcome. If you like Gambit and Wolverine you 'll love this book. It is not my favorite of the team of Loeb & Sale but it was not boring by a long shot. Here are a few other books from Jeph & Tim I hope you will checkout: Batman: The Long Halloween, Superman for All Seasons, Spider-Man: Blue, Daredevil: Yellow, & Hulk: Gray.
October 30, 2024
Gambit’s missing Rogue (something to do with a larger X-Men storyline happening around this time) and decides to distract himself by investigating the death of an ex in London - the latest victim of a Jack the Ripper copycat killer with a Wolverine silhouette. Couldn’t be Logan, could it? He does have blades in his hands and has a tendency to go off on one without really knowing what he’s doing. Nahhh. Anyhoo, Remy’s on the case, cher.
This four-issue X-Men miniseries from the mid-90s is definitely one of Jeph Loeb and Tim Sale’s lesser-known collabs but one of the few that’s actually pretty decent.
Loeb’s story has an intriguing hook - it’s not that we believe Wolverine is really doing the killings, but it’s seeing why it’s being set up this way - and writes both characters well. As he’s the gruff straight man, Wolverine tends to have good chemistry with any playful character and he and Gambit bounce off each other well. But I also found Remy charming here - as he should be given that he’s presented that way - and a solid protagonist.
The brief length of the miniseries is a benefit to the story as it means Loeb doesn’t have the space to mess around (like in The Long Halloween) and as such the narrative canters forward at a nice pace. Tim Sale’s sharp-looking art also adds to this by having dynamic, imaginative layouts that grabs the reader’s attention on each page (maybe a bit too much with the Dutch angles - hey, it was the ‘90s!) and Wolverine and Gambit look great too in their classic outfits.
Loeb stumbles a bit in the second act. It’s not totally clear what’s going on or why - are they in the villain’s head or in captivity somewhere being toyed with psychologically and how did they get there? It’s kinda (unintentionally?) clever in that it puts the reader in the character’s confused mindset but also feels a bit convenient. And the ending is not great, but also not typical in that Loeb is going for a more nuanced psychological take, rather than evil villain behaving like evil villain just cos, which I appreciated.
X-Men: Wolverine/Gambit isn’t the most memorable story but definitely a readable and mildly entertaining one. Unlike a lot of Jeph Loeb’s comics, I did actually want to see what happens next - not bad, bub.
This four-issue X-Men miniseries from the mid-90s is definitely one of Jeph Loeb and Tim Sale’s lesser-known collabs but one of the few that’s actually pretty decent.
Loeb’s story has an intriguing hook - it’s not that we believe Wolverine is really doing the killings, but it’s seeing why it’s being set up this way - and writes both characters well. As he’s the gruff straight man, Wolverine tends to have good chemistry with any playful character and he and Gambit bounce off each other well. But I also found Remy charming here - as he should be given that he’s presented that way - and a solid protagonist.
The brief length of the miniseries is a benefit to the story as it means Loeb doesn’t have the space to mess around (like in The Long Halloween) and as such the narrative canters forward at a nice pace. Tim Sale’s sharp-looking art also adds to this by having dynamic, imaginative layouts that grabs the reader’s attention on each page (maybe a bit too much with the Dutch angles - hey, it was the ‘90s!) and Wolverine and Gambit look great too in their classic outfits.
Loeb stumbles a bit in the second act. It’s not totally clear what’s going on or why - are they in the villain’s head or in captivity somewhere being toyed with psychologically and how did they get there? It’s kinda (unintentionally?) clever in that it puts the reader in the character’s confused mindset but also feels a bit convenient. And the ending is not great, but also not typical in that Loeb is going for a more nuanced psychological take, rather than evil villain behaving like evil villain just cos, which I appreciated.
X-Men: Wolverine/Gambit isn’t the most memorable story but definitely a readable and mildly entertaining one. Unlike a lot of Jeph Loeb’s comics, I did actually want to see what happens next - not bad, bub.
June 5, 2024
Un gran equipo afilando sus garras
Joeph Loeb y Tim Sale son conocidos hoy en día en el mundo de los cómics por su gran obra en Batman: The Long Halloween, así como sus autoconclusivos de "colores" en Marvel (Spider-Man: Blue, Daredevil: Yellow, Hulk. Gray, etc.). Este tomo recopila una miniserie de cuatro números (más una historia adicional estelarizada por Bishop), que es una de las primeras colaboraciones que tendrían y en ella se aprecian vestigios de la genialidad que se iría puliendo mientras sus colaboraciones se apilaran.
Alejado de la continuidad regular de la época, se establecen (sin preguntar mucho) las razones por las cuales estos personajes se encuentran en Londres, mientras se revelan las situacione y los involucrados en este predicamento.
La habilidad de storytelling de ambos autores se aprecia en este trabajo: las cajas narrativa de Loeb, que reemplazaban las nubes de pensamiento (todavía utilizadas en esa época pero en menor medida) el contraste de tintas fuertes y líneas de Tim Sale, que lograba hacer composiciones interesantes en las páginas como las onomatopeyas de pasos ominosos de la página 1, hasta formas de paneles circulares adornando páginas con menos viñetas.
El color digital, que era de los mejores de su época hecho por el equipo de Malibu, en ocasiones puede no mezclarse bien con la línea del artista, pero es un tema de su época, no me afectó mucho, pero al igual que en los libros de la Liga de La Justicia de Morrison, Porter y Dell, se nota el proceso de experimentación.
No es la mejor historia de ambos, pero una muestra de el talento que ambos pulían como equipo, y para los fans de la dupla que no la han leído, puede ser de interés no solo por ser un "team-up" de dos personajes en la cúspide de su popularidad, sino por ser una historia que más que enfocarse en la acción (la cual existe en las páginas) trata de mantenerte atento develando el misterio poco a poco, y ve a los dos protagonistas y sus contrapartes, desde el lente de la pérdida, y como algunos son víctimas de agentes externos, y otros de sus propios demonios o su pasado cobrando factura.
Joeph Loeb y Tim Sale son conocidos hoy en día en el mundo de los cómics por su gran obra en Batman: The Long Halloween, así como sus autoconclusivos de "colores" en Marvel (Spider-Man: Blue, Daredevil: Yellow, Hulk. Gray, etc.). Este tomo recopila una miniserie de cuatro números (más una historia adicional estelarizada por Bishop), que es una de las primeras colaboraciones que tendrían y en ella se aprecian vestigios de la genialidad que se iría puliendo mientras sus colaboraciones se apilaran.
Alejado de la continuidad regular de la época, se establecen (sin preguntar mucho) las razones por las cuales estos personajes se encuentran en Londres, mientras se revelan las situacione y los involucrados en este predicamento.
La habilidad de storytelling de ambos autores se aprecia en este trabajo: las cajas narrativa de Loeb, que reemplazaban las nubes de pensamiento (todavía utilizadas en esa época pero en menor medida) el contraste de tintas fuertes y líneas de Tim Sale, que lograba hacer composiciones interesantes en las páginas como las onomatopeyas de pasos ominosos de la página 1, hasta formas de paneles circulares adornando páginas con menos viñetas.
El color digital, que era de los mejores de su época hecho por el equipo de Malibu, en ocasiones puede no mezclarse bien con la línea del artista, pero es un tema de su época, no me afectó mucho, pero al igual que en los libros de la Liga de La Justicia de Morrison, Porter y Dell, se nota el proceso de experimentación.
No es la mejor historia de ambos, pero una muestra de el talento que ambos pulían como equipo, y para los fans de la dupla que no la han leído, puede ser de interés no solo por ser un "team-up" de dos personajes en la cúspide de su popularidad, sino por ser una historia que más que enfocarse en la acción (la cual existe en las páginas) trata de mantenerte atento develando el misterio poco a poco, y ve a los dos protagonistas y sus contrapartes, desde el lente de la pérdida, y como algunos son víctimas de agentes externos, y otros de sus propios demonios o su pasado cobrando factura.
February 15, 2023
Apparently, it's Loeb/Sale month and I didn't even realize it when I bought this on my Kindle. I've been meaning to read Wolverine/Gambit for a while because I was always curious about it and it was about what I expected: Good, Not Great. But the fact that Loeb and Sale were behind this book, whose work I really loved in The Long Halloween, put a little more of a damper on this book that I would have liked.
I generally enjoy Gambit and Wolverine's dynamic. Wolverine is always so serious and edgy and Gambit is a good foil to that, poking fun at the character while also being mindful of his own bouts of stoicism. I think Loeb did a pretty good job of capturing that and did a good job of showcasing both characters, but I would have liked to see a little more. The story moves fairly fast and it seems to quickly abandon its intriguing premise for a less-intriguing supervillain plot. It's to be expected, but, again, after reading The Long Halloween, I had my hopes up.
There were also some continuity things that were a little confusing to me since I wasn't sure where this fit with the rest of the storyline. I won't get too in-depth, but an obscure character is referenced a few times towards the end that is a key to the villain's motivation. I wasn't sure who this was and went back in the book to see if I missed something, but I ended up looking it up and seeing that it was in reference to an earlier story.
Sale's art in this is solid. I think his panel layout throughout the book is engaging and clever and I think his style lends itself well for the story, but there were some panels where characters, especially Gambit, look a little weird.
So, good. Not great. But Wolverine/Gambit was a fun story involving a couple of characters that defined a special part of my childhood.
I generally enjoy Gambit and Wolverine's dynamic. Wolverine is always so serious and edgy and Gambit is a good foil to that, poking fun at the character while also being mindful of his own bouts of stoicism. I think Loeb did a pretty good job of capturing that and did a good job of showcasing both characters, but I would have liked to see a little more. The story moves fairly fast and it seems to quickly abandon its intriguing premise for a less-intriguing supervillain plot. It's to be expected, but, again, after reading The Long Halloween, I had my hopes up.
There were also some continuity things that were a little confusing to me since I wasn't sure where this fit with the rest of the storyline. I won't get too in-depth, but an obscure character is referenced a few times towards the end that is a key to the villain's motivation. I wasn't sure who this was and went back in the book to see if I missed something, but I ended up looking it up and seeing that it was in reference to an earlier story.
Sale's art in this is solid. I think his panel layout throughout the book is engaging and clever and I think his style lends itself well for the story, but there were some panels where characters, especially Gambit, look a little weird.
So, good. Not great. But Wolverine/Gambit was a fun story involving a couple of characters that defined a special part of my childhood.
April 6, 2025
An earlier collaborative work from Jeph Loeb and Tim Sale (predating their most famous collaboration - Batman: The Long Halloween by a year) featuring a team up of Wolverine and Gambit. A series of murders in London that seem evocative of the Jack the Ripper murders from a century prior leads to Gambit coming into town to investigate. But when the clues seem to lead him towards his fellow team member Wolverine being involved, the pair have to figure out who is really pulling the strings behind the murders. Staged as a murder mystery, Wolverine/Gambit: Victims serves as a four-issue thriller that leads them down a path of conspiracy and intrigue.
As much fun as a duo of Wolverine and Gambit sounds like it would be, this is rather terrible. The winding mystery isn't compelling, the dialogue is stilted and it's all over before it really even picks up. The actual ending was not too bad, though the lead up to it is completely sudden making the ending itself come off as unearned. Early work from Tim Sale as well, and this is far from his best work with the characters all looking a little screwy and disproportioned. Really was not a fan of this one in the slightest.
As much fun as a duo of Wolverine and Gambit sounds like it would be, this is rather terrible. The winding mystery isn't compelling, the dialogue is stilted and it's all over before it really even picks up. The actual ending was not too bad, though the lead up to it is completely sudden making the ending itself come off as unearned. Early work from Tim Sale as well, and this is far from his best work with the characters all looking a little screwy and disproportioned. Really was not a fan of this one in the slightest.
November 16, 2020
2.5 stars
It occured to me while reading this that Tim Sale is one of the few comic artists whose newer style of drawing is something I actually find compelling despite it's radically different nature from someone like Romita Jr who I define as the ideal comic artist. Not having read much Marvel that was written after 2000 I have no real sense of the mediums evolution though I suspect Sale is a huge influence on modern day comic art (the other that comes to mind is Jim Lee). All this to say that this particular Marvel Premiere Classic falls short on all but the artwork, which even still isn't too notch Sale (my personal favorite being Spiderman: Blue). Jeff Loeb seems to have no idea what story he's telling and for a relatively short read there was a lot of discontinuous narrative. I can attribute some of that too the monthly installment format of comics, but so often in this story it almost seems like there was no basis for this story other than "Look! It's Wolverine and Gambit!" Would recommend for the Sale artwork and little else.
It occured to me while reading this that Tim Sale is one of the few comic artists whose newer style of drawing is something I actually find compelling despite it's radically different nature from someone like Romita Jr who I define as the ideal comic artist. Not having read much Marvel that was written after 2000 I have no real sense of the mediums evolution though I suspect Sale is a huge influence on modern day comic art (the other that comes to mind is Jim Lee). All this to say that this particular Marvel Premiere Classic falls short on all but the artwork, which even still isn't too notch Sale (my personal favorite being Spiderman: Blue). Jeff Loeb seems to have no idea what story he's telling and for a relatively short read there was a lot of discontinuous narrative. I can attribute some of that too the monthly installment format of comics, but so often in this story it almost seems like there was no basis for this story other than "Look! It's Wolverine and Gambit!" Would recommend for the Sale artwork and little else.
May 15, 2024
Tim Sale can do no wrong. He is one of the best to ever do it and has remained a favorite artist of mine throughout the years. His work remains dynamic, stylish, and exciting with every character he draws, especially with flat colors... but sadly this has a very mid-90's coloring style which doesn't always fit. Even so, he's a guy I always love to see.
Jeph Loeb... I used to love seeing him... before I found out he was a racist who ruined Daredevil Season 2 and the Defenders by rejecting any attempts to flesh out the Asian characters on the show.
He's usually at his best working with Sale, but here it feels like a pretty by the numbers team-up book. It would honestly be better if it had more of that. Instead a whole issue is taken up by "oh no, I'm sad because my girlfriend is dead!" with just a few pages of cool Gambit vs Wolverine fighting when we could have had WAY more! Still, we get some moody Tim Sale nightmare sequences, so it was worth it.
Jeph Loeb... I used to love seeing him... before I found out he was a racist who ruined Daredevil Season 2 and the Defenders by rejecting any attempts to flesh out the Asian characters on the show.
He's usually at his best working with Sale, but here it feels like a pretty by the numbers team-up book. It would honestly be better if it had more of that. Instead a whole issue is taken up by "oh no, I'm sad because my girlfriend is dead!" with just a few pages of cool Gambit vs Wolverine fighting when we could have had WAY more! Still, we get some moody Tim Sale nightmare sequences, so it was worth it.
December 7, 2024
I'm usually a fan of Tim Sale's art. While he still delivers his noirish style here, which is appropriate for the story, I just don't enjoy the faces in this book, particularly Gambit's. There are also some very sparely paneled pages that look less like an artistic decision and more like an artist wasn't using the space properly. So it's three stars for the art for me.
I rarely, but not quite never, enjoy Jeph Loeb's storytelling. This was far from his worst superhero comic but the dialog was really clunky, and the story quite trite and uninspired. Barely two stars.
This is a big Skip It for me. By the standards of the time, it's a mediocre comic, but compared to Loeb and Sale's work on Batman, it's awful.
I rarely, but not quite never, enjoy Jeph Loeb's storytelling. This was far from his worst superhero comic but the dialog was really clunky, and the story quite trite and uninspired. Barely two stars.
This is a big Skip It for me. By the standards of the time, it's a mediocre comic, but compared to Loeb and Sale's work on Batman, it's awful.
October 26, 2024
That wasn't much.
It was a very bland story. The final issue tried to make it sound really profound but it simply wasn't. I can only think that maybe, if it were read when it was published (1995), there may have been something going on in the X-books to give it context. Otherwise, it was utterly dull and pointless.
The only bright spark is that it introduced 'Martinique Jason', the daughter of Jason Wyngarde. I guess for some reason she accidentally took his first name as her surname? (The Marvel Wikia has her listed as Martinique Wyngarde.)
On this TPB, there are many review quotes talking up Loeb and Sale, but they don't specifically reference this book. Does that mean that while people speak highly of the creative team, no-one actually speaks highly of this LS?
It was a very bland story. The final issue tried to make it sound really profound but it simply wasn't. I can only think that maybe, if it were read when it was published (1995), there may have been something going on in the X-books to give it context. Otherwise, it was utterly dull and pointless.
The only bright spark is that it introduced 'Martinique Jason', the daughter of Jason Wyngarde. I guess for some reason she accidentally took his first name as her surname? (The Marvel Wikia has her listed as Martinique Wyngarde.)
On this TPB, there are many review quotes talking up Loeb and Sale, but they don't specifically reference this book. Does that mean that while people speak highly of the creative team, no-one actually speaks highly of this LS?
August 21, 2017
Una boccata d'aria fresca dopo i precedenti volumi: una storia chiara, lineare, gradevole da leggere, dalle atmosfere davvero noir. Ho apprezzato le interazioni fra Logan e Gambit, come Loeb abbia saputo dare il giusto spazio all'introspezione sia dell'uno che dell'altro. Mi sono piaciute parecchio anche le ambientazioni londinesi, fumose e oscure, così come i richiami a Jack lo Squartatore, il cui spauracchio è stato qui usato in maniera intelligente... a proposito, il personaggio della nuova Mastermind è ben definito fin dalla sua entrata in scena.
Insomma, ci vorrebbero più storie così e meno supercazzole moraleggianti che finiscono per non dire nulla e confondono soltanto.
Insomma, ci vorrebbero più storie così e meno supercazzole moraleggianti che finiscono per non dire nulla e confondono soltanto.
February 12, 2023
I read this comic in preparation for discussion on The Superhuman Registration Podcast. Full discussion will be there with my buddies John and Aldo.
You know, this comic isn’t bad. It’s not quite good enough to call it a hidden gem, but I can’t say I hated it.
I’m not the biggest fan of Loeb/Sale; however, I’ve grown to appreciate the duo a bit more in light of Sale’s recent passing. The art is easily the strongest point of this story: the layouts are fun and engaging without sacrificing readability. The plot is a bit disposable, and the writing is somehow both a bit much and a bit juvenile.
The end result is a comic that’s fun to read for an hour or so, and that’s not bad.
You know, this comic isn’t bad. It’s not quite good enough to call it a hidden gem, but I can’t say I hated it.
I’m not the biggest fan of Loeb/Sale; however, I’ve grown to appreciate the duo a bit more in light of Sale’s recent passing. The art is easily the strongest point of this story: the layouts are fun and engaging without sacrificing readability. The plot is a bit disposable, and the writing is somehow both a bit much and a bit juvenile.
The end result is a comic that’s fun to read for an hour or so, and that’s not bad.
July 31, 2024
Lobezno y Gambito se verán envueltos en una trama de asesinatos al más puro estilo de Jack el Destripador. Es un comic de misterio y género noir mezclado con superhéroes, que funciona perfectamente de principio a fin. En el año 1996 adquirí las 4 grapas, y siempre fue un cómic que me gustó mucho al que tengo mucho cariño, por eso decidí adquirir la edición en cartoné. Tras una relectura, puedo confirmar que es un muy buen trabajo de Jeph Loeb y Tim Sale, que merece mayor reconocimiento. Tiene algunas composiciones de viñetas brillantes, y para ser de sus primeros trabajos ya se veía que esta dupla de autores apuntaba maneras.
October 15, 2021
Much as I enjoy Loeb and Sale, this is a Batman story with the numbers filed off. Tim Sale has some excellent panel layouts, with splash pages galore, and it's good to see underused villains in a moody, atmospheric story like this. Unfortunately, the story is kind of a mess, with none of the thematic consistency that their Batman work has; it feels like each issue was crafted to have a last-page reveal, without worrying about whether it makes sense. Wolverine is also drawn as Batman with different hair, which doesn't help.
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