Abstract: Superhero fiction in contemporary Turkey can be said to have started during the 1930s with the translation and adaptation of Flash Gordon comics into Turkish. This inspired a generation of Turkish  filmmakers in the 1960s and 1970s to make their own versions of Superman, Batman and Spider-Man, often creating characters that are assemblages of various American superheroes. Yet eventually, through productions such as Ayhan Başoğlu’s Malkoçoğlu or Suat Yalaz’s Karaoğlan, the genre became vernacularized into the cultural context of Turkish society. One defining characteristic of this adaptation is a preoccupation with using the superhero as a bridge to connect with either the Ottoman or Turkic past. In its adapted form, one can argue that Turkish superhero fiction bears intimate ties to imagined nationhood and nationalist mythologies, making it particularly open to revisionist interpretations of history. Examining Netflix’s Hakan Muhafız (2018-) and ATV’s Akıncı (2021-) television series, this paper discusses how both in their own ways, use the figure of the superhero to (re)connect to audiences with an Ottoman past as imagined by those invested in building the hegemonic undertaking of “New Turkey”. Particularly within the example of Akıncı, one can argue these Neo-Ottoman representations of the past set the stage for the emergence of a pious conservative Turkish superhero, who embodies both the physical and ideological virtues idealized by the ruling elite. The incorporation of Neo-Ottomanism and pious conservatism into the realm of superhero fiction demonstrates a hegemonic shift in the collective structures of feeling in Turkish society.