Marauders #3 amps up the threat level while focusing on Cassandra's creepy yet badass nature. If you're at all interested in the spacefaring tales of the good old days of X-Men, you'll love this. Read Full Review

The space politics in Marauders #3 are fantastic. The conflict just behind Xandra is fascinating and hints at an entire races history. All of the characters have the potential for awesome scenes with unique and dynamic powers, and the glimpses of that are enough to keep me interested. Read Full Review

I can only really recommend Marauders at this point if you're among the most hardcore of X-Men fans. Read Full Review

I'm enjoying Orlando's dense writing on this more than I have on his work for DC because I actually get most of his obscure continuity references (and have Paul O'Brien's annotations on House To Astonish to fill me in on the rest). It's still a slow read but I'm learning to appreciate that. I wish the art were clearer in some places, but Carlini's Cassandra Nova really shines.

I love a good X-Men space opera as much as the next 90s kid, but this may be a bit too heavy for me. The deep references are fun, but I know a lot of them are going over my head. Personally, I love the art, but the story is getting somewhat hard to follow.

The more I see the art the less of a connection I have to this book. While Orlando has pulled some amazing rabbits out of hats in regards to X-Men lore I cannot take the storyline seriously though this lens of a second rate Saturday morning cartoon. I wanted to love Marauders but I have been dragging myself through these 3 issues looking at barely recognizable faces of characters that I have loved for decades.

I like the deep pulls, but team continues to feel very hodgepodge. Cassandra Nova so doesn't belong here. Space adventures and the Shi'ar can keep me around, but this is slipping for me. Fast.

Although we *still* haven't gotten to the First Blood secret, at least there are enough plot-cards on the table now to grasp the scope of the story. I say it's a sound premise. I also say it's very stupid and tangled by too many superfluous sub-plots, but it's a workable skeleton.

That skeleton supports some journeyman storytelling in words and art here. Not terrible, but not in any way exceptional. And this is a notably bad installment in terms of characterization. Cassandra sits on a mountain of smug, but otherwise, instead of character insights, all we get are lame continuity nods.