Superheroes and Super Villains for the Craziest ASB Countries

Basically, make up a comic superhero or super heroine or team or super villain(s) for the craziest ASB countries like for example and include:

Aztec Empire
Holy Roman Empire
Mughal Empire
Confederate states of America
Republic of Venice
Ming dynasty
Russian Empire
Polish-Lithuanian Commonwealth
Swedish Empire
United Provinces of Rio De La Plata
Gran Columbia
Ottoman Empire
Roman Empire
Napoleonic France
Mongol Empire
Inca Empire
Tokugawa Shogunate
Taiping Heavenly kingdom
Mali Empire
Songhai Empire
Ancient Egypt
Dutch Republic
Kingdom of France
Etc/ and more

Make a comic book superhero or team for these countries and any other country you can think of

EDIT: added super villains into the mix
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Russian Empire
Mother Russia, the patriotic personification of the Russian Empire in human form, with the soul purpose to defend Russia from all her enemies, including "The Bolshevik". Appearance wise she is a gorgeous woman with a stern and intense gaze, in peak physical condition with golden, flowing hair, clad in white with armour, carrying a sword and shield, and is occasionally accompanied by a sentient talking bear called Karaul.
Mother Russia, the patriotic personification of the Russian Empire in human form, with the soul purpose to defend Russia from all her enemies, including "The Bolshevik". Appearance wise she is a gorgeous woman with a stern and intense gaze, in peak physical condition with golden, flowing hair, clad in white with armour, carrying a sword and shield, and is occasionally accompanied by a sentient talking bear called Karaul.
We already have a Mother Russia, was in Kick Ass II.

Republic of Venice
Uomo d'acqua

Son of Neptun and Maria Cuomo, daughter of former Doge, Mario Cuomo and sister of current Doge.

Maria had found the water god unconscious on the beach of , nursing him back to health they eventually fall in love and had a son named Nereus.

He is the first Demi-god born in centuries, although more Demi-gods would follow in the Olympian series of comics.

When he reached the age 18, he was summoned to return to his father’s home, the lost kingdom of Atlantis.
Aztec Empire
cuāuhocēlōtl (English: Eagle Warrior) is a high-ranking Aztecan military officer who works with Commonwealth and other superhumans in domestic and international cases. Sometimes referred to in popular Commonwealth culture as Captain Azteca (after Captain Britain and Captain Commonwealth), cuāuhocēlōtl gained his powers similarly to the first Captain Commonwealth Steven Rogers: through a program intended to turn average citizens into superhumans during the Third Global War. Like Rogers, cuāuhocēlōtl (whose identity is not known to the general public) was presumed lost [1] in battle in 1941 and, later, revived after being found by a New Roman Republic submarine in the Atlantic [2] 35 years later.

While Rogers led the North American-based Defenders as Captain Commonwealth, the Aztecs put cuāuhocēlōtl through a rigorous training program until he was ready to lead the Empire's military-based group of superhumans and mutants. cuāuhocēlōtl has tended to act in the interests of the general public, even when it puts him in conflict with his overseers, and that has made him an ally of the Defenders, the X-Men, the Fabulous Five, Excalibur and other Allied-based superhero organizations. cuāuhocēlōtl's most notable actions include negotiating peace with the intergalactic conqueror Galactus (1977) and mutant terrorist Erik Magnus Lensheer (1986), and preventing the destruction of Earth by the hands of the High Satanists (1980), the Skrulls (1982) [3], a race of Bavarian-based werewolves (1985) and an interdimensional group of superhuman and mutant cannibalistic zombies (1996).

[1] See Battle of the Balkans
[2] The prevailing theory is cuāuhocēlōtl's comatose body was immediately recovered by an Atlantean undersea vessel, and kept in suspended animation until Atlantean scientists were able to revive him. He was then placed in a pod with 72 hours of oxygen in international waters, and the neutral Romans were given the pod's location.
[3] The so-called Secret Global War in which most of Earth's superhumans were abducted by intergalactic beings to participate in a battle, that led to the League of Nations declaring war on the entities and fighting the battles covertly on and off Earth.
Confederate states of America
Hawk man's secret identity is Benjamin Washington Williams, a wealthy dandy playboy, philanthropist, and owner of Williams Plantation. After witnessing the murder of his parents, George Williams and Martha (née Washington Curtis) as a child, he swore vengeance against criminals, an oath tempered by a sense of justice.

He was raised by his family’s trusted hawk trainer, Wayne Bruce, a man of Scottish heritage who tended to the plantations white hawks (Pseudastur albicollis), a bird of prey breeding in the tropical New World.

Wayne Bruce would help train Benjamin Williams, physically and intellectually and crafts a white hawk-inspired persona to fight crime.

The Birth of a Hero (1915)
Injustice (1916)
These films were made by D. W. Griffith
Hawkman (1943)
Hawkman and Mockingbird (1949)
How to kill the Mockingbird (1951)
Hawkman (1966)
Hawkman (1989)
Hawkman Returns (1992)
Hawkman: Mask of Justice (1993)
Hawkman Forever (1995)
Hawkman & Mockingbird (1997)
Hawkman Begins (2005)
The White Knight (2008)
The White Knight Rises (2012)
Hawkman v Captain America: Dawn of Second Civil War (2016)
The Lego Hawkman Movie (2017)
Justice League (2017)
Hawk man's secret identity is Benjamin Washington Williams, a wealthy dandy playboy, philanthropist, and owner of Williams Plantation. After witnessing the murder of his parents, George Williams and Martha (née Washington Curtis) as a child, he swore vengeance against criminals, an oath tempered by a sense of justice.

He was raised by his family’s trusted hawk trainer, Wayne Bruce, a man of Scottish heritage who tended to the plantations white hawks (Pseudastur albicollis), a bird of prey breeding in the tropical New World.

Wayne Bruce would help train Benjamin Williams, physically and intellectually and crafts a white hawk-inspired persona to fight crime.

"Hawk-man." You think you're the only superhero in the world?

Mousier. Williams, you've become part of a bigger universe. You just don't know it yet.

Hawkman: Who the hell are you?

Napoleon Févre, Grand Director of L.E.G.I.O.N

I'm here to talk to you
about the Defenders Initiative.
Ottoman Empire - The Steel Lion

Sabah Selim, more commonly known as the Steel Lion, is a popular superhero originating from the Ottoman Empire and co-created by writers Yusuf Ocal and Ayla Ozmin in 1952, though much of the character’s present mythology draws heavily on the works of Valencian-Ottoman writer Silvestre Antelo in the 1970s. The Steel Lion draws heavily on the traditions of Turkic Folklore and Greek Mythology, though largely filtered through the popularization of romanticized, swashbuckling heroes in the 1800s and the subsequent pulp craze of the 1930s.

The Steel Lion is most commonly seen as a derivation from two popular characters, Mustafa Arslan and Sabah Yeldirim, who existed previously in the Ottoman cultural milieu. Mustafa Arslan, the subject of a series of pulp novels written by Sabit Tansel in the 1890s and 1900s, was the scion of a wealthy horse-raising family in the central Cappadocian Plateau who sets off to Constantinople as a young man to protect the Sultans from the machinations of villainous organizations. Combining elements of the hard-boiled detective with a sagacious, brutally efficient, and direct political player inspired by Nizam al-Mulk, Arslan was most notable for referring to himself as “the Lion” and leaving a calling card of a blue lion with his victims.

Sabah Yeldirim, meanwhile, was an older character inspired by such folkloric figures as Digenes Akritas and Koroghlu. Initially conceived of as a satirical character in several concurrent broadsheet stories in the 1740s, Yeldirim was a swashbuckling half-Greek, half-Turkish adventurer who stumbled into success thanks to his tendency to have severe rainstorms follow him. Aboard his ship, the Pendragon - a ship recovered from the British due to the crew being sent overboard by a rogue wave - Yedirim would travel the world, discovering a variety of new places. Though Yeldirim’s travels were often a form of political satire - the places he visited, often highly fictionalized and taken from western accounts such as the travels of Marco Polo or John Mandeville, were satires of either Ottoman or western politics - the character himself remained part of the general cultural consciousness of the Ottomans.

In 1949, Ayla Ozmin, the daughter of a Bodrum newspaper editor, was given the opportunity by her father to publish a short, page-long work of fiction in his paper, which focused on the heroic exploits of a character known as the Crescent, a mysterious Ottoman man who battled crime thanks to his master swordsmanship and his ability to “shadow-step,” a science-fiction concept explained by Ozmin as the ability to cast a cloak over himself and move unseen, but only when partially concealed by darkness. Ozmin’s short stories proved a hit, and the story of the Crescent drew to a close in 1951 when she met with published comic author Yusuf Ocal, who had previously worked on several foreign comics.

The next year, Ocal and Ozmin co-published the first story of Steel Lion in the larger Incredible Tales and Camp Stories collection. In it, Sabah Selim is introduced as an unassuming bureaucrat in Ottoman Constantinople by day, where he keeps an eye for corruption and theft. It is revealed that, as a child, Sabah was raised by an embittered, angry old man named Kutlay Kyrillou, who forcibly taught Sabah to master swordsmanship, but also degraded and humiliated the young man. During this time, Sabah is also used as a test subject for an experimental treatment for blindness, which grants him the ability to see tears in shadows that let him “shadow-step,” a concept held over from the Crescent. Sabah escapes Kutlay and makes his own way in life, eventually becoming a moderately wealthy bureaucrat by day and a defender of the innocent and of the Ottomans against insidious plots by night, as the Steel Lion.

Early publications of Sabah largely focused on his run-ins with various secret societies trying to affect the Ottoman Empire, usually by undermining the spirit and morale of its people. In time, Sabah would grow to have a rogues gallery largely composed of Ottoman turncoats, Russian and Habsburg spies, and British and French dandies, the most notable of whom was Louis Clemént, the Grandmaster, a French assassin and marksman who became Sabah’s running rival as the face of the Knights Templar. Sabah’s group also came to include Mehmet al-Atassi, Sabah’s young protege known as the Thunderbolt, and Sibel Gollu, Sabah’s unrequited love interest and sister of the head of the Ottoman Spy network.

Ocal and Ozmin would retire from writing Sabah after 13 years in 1965, at which point several writers picked up the character for shorter periods of time. While Sabah had always been based in Constantinople, it was during this period that he gained his reputation as a globe-trotting character, and when he acquired his iconic green-and-yellow plane, the Pendragon, as well as his talents as a pilot.

In 1973, Valencia-born writer Silvestre Antelo was handed the reigns of Sabah’s line, which had steadily declined in sales since the creators had left. Antelo was able to convince his Oran-born, Paris-educated contact Adbullah Qamari to join him as the primary artist, bringing with him a style that blended pop art, art nouveau, and Moorish stylings for a bright, colorful, visually distinct look. Antelo, believing Sabah had never left behind the lighter, less realistic, more surface tone of pulp heroes, used his famed 60-issue run Cheap Chess (divided into five books of twelve issues: Knight Errant, Queen’s Pawn, Bishop’s Prayer, Upon the Rook, and King’s Move) to dive deep into the psychology and relationships of the characters. Antelo is credited for creating much of what is known about the modern character of Sabah Selim, namely his psychology, his extended cast, and his long-running friendly rivalry with the Venetian character Raffaele Meretrice.

Sabah Selim is typically drawn to be a Turkish man in his late twenties with a sharp, stubbled jawline, curled hair, and blue eyes. He is canonically six foot-one inch tall. His costume generally consists of a long coat over stylized body armor, with a mixture of grey, dark red, and brass trimmings. He uses an elegant french fencing blade, which since Antelo’s run has been made of the metal from a falling star and thus depicted as a dark grey color, with the ability to wound foes through armor and even ward off spirits, as well as his ability to quickly move unseen through shadows, a power which varies from teleportation to invisibility depending on the writer, though the common consensus since the 1990s has been that his shadow-step ability is a form of non-instantaneous teleportation. Sabah is considered one of the best swordsmen on the planet, as well as a master pilot and gymnast. He is generally depicted as a dour, serious, and occasionally unimaginative individual. The core battle between his innate chivalry and an existential despair and nihilism has been considered a core part of Sabah's character since Antelo's run, where he postulated that Sabah is a modern-day knight-errant, and brought forward the questions of whether or not the thankless tasks of knights-errant would ultimately prove futile.
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"By your powers combined I am... Captain Austria!"

Captain Austria, he's our hero,
Gonna take other empires down to zero!
He's our nations synthesized,
And he's fighting on all our side!

[Captain Austria sights a group of nationalist vandals putting propaganda on a lamp post. With his titanic strength, he bends the post around the miscreants, trapping them]

"Curse you, Captain Austria!"

[Captain Austria turns to camera, raises thumbs up]

"Don't do drugs!"

Habsburg Empire - Apotheosis

Gabriel Wallach, aka Apotheosis, is a superhero created in the Austro-Hungarian Empire in the 1920s. Originally created as a pseudo-Christian mythological extension of the Archangel Gabriel, Apotheosis has a long history of being coded as Jewish, up to the famed “Night of the Qliphoth” storyline in 1984 which publicly confirmed the character’s Jewish faith and heritage. Apotheosis has had a controversial publication history, with accusations of being heterodox or satanic in the 1950s, 1970s, and 1980s, largely from conservative Christian groups, while also being lauded as “the quintessential Habsburg superhero.” The acquisition of Apotheosis Comics by the larger Intrepid Comics publisher in 1992 saw Apotheosis join a wider universe of superheroes such as the Steel Lion and Insight.

Gabriel Wallach was first created, both in art and writing, by Alexandr Pospíchal, a Vienna-born artists coming from a large Czech family. Pospíchal, though Catholic by birth and, especially in his later years, crypto-occultist by faith, grew up interacting with the large Jewish community both of Vienna and of the wider Austro-Hungarian Empire. The first sketches of Wallach, then dubbed “The Rosicrucian,” appeared in 1918, shortly after Pospíchal first read The Metamorphosis by his contemporary, Franz Kafka, which Pospíchal maintained was a major influence on his work. Fragmentary stories from this period suggest Pospíchal originally intended for Wallach to be a much more alchemy-based hero, though the idea of a metamorphosis of his own soon overtook these original plans.

In 1924, Pospíchal received a publishing deal from the Katholischer Preßverein to publish six-page adventures with his character “Apotheosis,” intended to show an “upstanding Austrian character challenging seditious and malcontent behavior.” Importantly, the Katholischer Preßverein obtained printing rights, but not ownership, of the stories and panels provided by Pospíchal. The first several issues of Wallach’s adventures mainly focused on his origins and his battling of demons masquerading as ordinary Austro-Hungarian citizens. Wallach’s powers, broadly including pyrokinesis and photokinesis, were said to have been bestowed upon him by the Archangel Gabriel with the express intent of defending against such hellish threats.

Pospíchal published with the Katholischer Preßverein from 1924 to 1931, during which time Wallach’s story was expanded to include his secret identity and his cover of working day-to-day as an assistant to a religious teacher - never explicitly stated to be Christian, as would be important in later recounting - and expanding his rogues gallery to include several stereotypes of Turkish Muslims. In 1931, Pospíchal severed ties with Katholischer Preßverein, claiming that their restrictive policies had prevented him from telling deeper stories about Wallach. It was at this time that Pospíchal created Apotheosis Comics, a small press based around his own stories.

Pospíchal continued to write for Wallach from 1931 to 1936, during which time he first introduced the Ship of Theseus, a secret society of wealthy, influential, and revered figures who controlled much of the world’s wealth and power. The society’s depiction has been noted to resemble the clothing of Cardinals of the Church and depictions of the Jesuit Order closely, and is often taken as a sign of Pospíchal’s frustrations with the Catholic dogma he had been required to write under. As a result, the 1931-1936 period in Apotheosis’s comics are known as being deeply subversive, going so far as to introduce Damian Lipowski, a Polish-Lithuanian hero and frequent ally of Wallach’s, despite deep-seated conflict between the Austro-Hungarians and Polish-Lithuanians.

In 1936, Pospíchal, now 54, transitioned into serving as the editor-in-chief of Apotheosis Comics, handing the writing of Apotheosis over to the team of Elias Mittermeier and Emilio Schiele, the latter having been Pospíchal’s correspondent in Habsburg Parma for the past decade. Mittermeier and Schiele dialed back the more subversive elements of Pospíchal’s later years, instead focusing on building Wallach’s character, background, and social circle. The 1936-1947 period under Mittermeier and Schiele, as well as the later addition of their protege Andreas Mosele, saw the creation of Wallach’s background as a middle-class child in an extended Transylvanian family who moved to Vienna. Wallach’s several brothers and sisters were introduced as side characters, along with his mentor figure, a Syrian-born Rabbi.

Pospíchal’s death in 1947 resulted in a two-year hiatus from the publishing of Wallach, which concluded when Tomys Mariou, a Cypriot immigrant, became head writer. Mariou’s interest in “the Orient” and disinterest in many of the deeply Austro-Hungarian themes of the prior writings (the cultural milieu of the Empire, as a Transylvanian-born immigrant to Vienna mentored by a Syrian and friends with a Pole) led to a series of issues from 1949 to 1953 which saw Wallach go to Persia in search of lost treasures and looking for ancient orders of mystics. This period, referred to as “the Babylonian Captivity” Mariou’s run did, however, establish many new Persian, Turkish, Indian, and Chinese characters in Wallach’s social circle, many of whom were rewrites of previous villains he had encountered during the Katholischer Preßverein period.

Mariou’s run came to an end in 1953, and he was replaced by the returning Andreas Mosele, who penned the famous “Rose and Cross” storyline from 1953 to 1956. This story, often treated as part of the essential Apotheosis canon, sees Wallach discover a globe-spanning occultist secret society, leading him back from Samarkand to Ciudad-Mexico, Boston, Paris, and eventually back to Vienna chasing various villains. The final discovery he makes is that his powers did not come from the literal Archangel Gabriel, but from an ancient alchemical reaction divined from ancient Israelite secrets. This story also introduces Apotheosis’s most famous ally, the Rosicrucian (a derivation from Pospíchal’s original notes as shared with Mosele) and one of his most famous villains, the Kingmaker.

The conclusion of the Rose and Cross storyline saw Mosele hand the reigns off to Dragoslav Pajić, who made a point to establish a consistent characterization of Wallach himself. Under Pajić’s pen, Wallach became a brilliant but lazy alchemist and brutally honest mild control freak, but also a man with deep convictions of right and wrong and a strong resistance to inherent categorization, to the point that he once declares “There is no such thing as good and evil; just knowledge and ignorance.” Pajić found that a kind of gnosticism worked well for his interpretation of Wallach, as well as Wallach’s two enduring foes, the Ship of Theseus (an organization which aggressively categorizes all its members to the point that replacements are altered to look identical to their predecessors) and the Rosicrucians (an organization which has achieved immortality through alchemical means, only to be denied the ultimate revelations of life and death). Wallach, a man who, by virtue of living in the multinational Austro-Hungarian Empire, is forced to contend with such aggressive categorization.

Pajić’s run, influenced by that of Mosele before him, saw the beginnings of public perception swinging against Wallach, as accusations of the comic turning young readers into satanists, atheists, or subversives came into full swing. Pajić, especially after his early runs, began to dial back the more subversive or occultist influences, and later in his run, the 1965-1966 story “The Father and the Son,” which saw Wallach’s Rabbi mentor die and see Wallach seduced by a new mentor figure in the form of a Neapolitan Priest secretly operating a modern-day slave trade through North Africa. This intensely personal story entrenched it as a second essential part of the Apotheosis canon.

Pajić retired in 1974, after writing Apotheosis for nearly two decades, leading to seven years of shortly-serving writers who began to return to the more occult, subversive, and political themes of the Rose and Cross era. This period also saw Matthias Tibor, the first Jewish artist for Apotheosis, begin to increase the Jewish iconography surrounding the character, playing on the long history of Wallach’s association with Jewish culture in the Austro-Hungarian Empire. In 1981, Matthias’s brother, Adrian Tibor, was brought on as the author for Apotheosis, and spent three years building a reputation as a long-term storyteller.

In 1984, Adrian and Matthias Tibor received the OK from Apotheosis Comics to “out” Wallach as being both ethnically and religiously Jewish, with depictions of his family gathering for Hanukah, Wallach’s day job being revealed as teaching at a Jewish day school, and a storyline directly connected to Jewish theology. The 1984-1987 storyline “Night of the Qliphoth,” all taking place over a single day and night, sees Apotheosis faced against a new enemy, the Decay, which withers living creatures around it. Night of the Qliphoth became an instant hit, and rapidly entered the canon for essential Apotheosis stories. The revelation that Apotheosis was Jewish (and, according to Apotheosis editorial, had always been intended as such) was not without controversy, however, and led to the creation of “the Ascended” by the Katholischer Preßverein, a rival and deeply similar hero to Apotheosis, which led to an extended court battle between the two sides.

The Tibor brothers continued to write and draw Apotheosis until their retirement in 1991. At this point, Intrepid Comics, a multinational conglomerate of comic companies with access to characters such as the Ottoman Steel Lion and the Venetian Insight offered to purchase Apotheosis Comics, which was agreed upon. Apotheosis thus joined the ranks of many other heroes. For much of the 1990s, Apotheosis was published as an adventure serial set in Eastern Europe, lacking much of the biting commentary of the prior decades.
The Black Tulip thought to one man but really 7 men who were the same masked costume and have vowed to protect the dutch republic from it many enemies and always leave behind a fresh black tulip.
I wish I had a good Texan superhero that wasn't already done :(. Marvel has the Texas Twister as the ultimate Texan superhero, and it checks all the boxes.