After finding massive success as artist for the one-two punch of Marvels and Kingdom Come, Alex Ross understandably wanted to keep his momentum going. Eventually, it led to Dynamite's Project Superpowers, which revives Golden Age (and now) public domain superheroes and attempts to find the same kind of climactic story.
The biggest problem is that none of these characters have any meaningful history behind them, and the more of them Ross and frequent collaborator Jim Krueger throw at readers, the harder it is to truly appreciate any of them. To their credit, Ross and Krueger have perfected their machine, so the storytelling itself sells the concept regardless of the connection, or lack thereof, these characters can garner. Since this is Project Superpowers past the origin story, this volume represents the true test of the concept.
The relative anonymity of the characters ends up being a true blessing, as well as curse. Ross and Krueger can get away with doing whatever they want with them with no fear of repercussions, so they can make highly questionable decisions like storming the Pentagon in much the fashion of the Iraq War (presumably that was the intended allegory) and thereby asking all sorts of questions about how far superheroes can push things before they have to be held accountable.
And to that point, it's interesting. Then another layer and then another layer are tossed in. And by the time you realize that this is the first of two volumes for the story, you may let loose a little groan, because the pacing reveals that the most pressing element, the unleashing of a very angry Zeus, isn't even close to resolution by the end of this one.
Using Zeus as the villain is actually the worst decision Ross and Krueger make. The one-dimensional interpretation that draws on the Greek god's worst impulses leaves everything else, pointedly, out, including how he was always depicted as being part of a whole pantheon trying to keep one another in check, which ironically is very much what the superheroes are attempting to do with each other.
The storytelling and the limitations of using barely sketched characters becomes instantly compromised as a result. When it works it works. But on the whole it just doesn't. Ross can pride himself for the achievements of the past, but Krueger has never been someone capable of helping him reach them again. He's just the guy who was available to sign on to help Ross try and try again. This is not a knock on Krueger so much as cautioning Ross to perhaps rethink a strategy he's been working on for close to twenty years now.
The worst part is that he's not even doing much more than formulating the story and doing covers. Thankfully Edgar Salazar is a decent interior artist, but this whole thing would be better if Ross put his money where his mouth is. He became famous for being an artist. If he doesn't trust himself by now to write the whole story himself, he should at least try for something less ambitious.
These characters disappeared for a reason. And Ross and Krueger haven't made near enough effort to make any one of them as interesting as they hope they are as a whole. Think of this as Watchmen lite if you must. And respond accordingly.