Mark Millar tends to write a lot about political issues, and even includes actual, real-life politicians within his comics (President George W. Bush and members of his cabinet appeared in both The Ultimates and Civil War, for example, President Barack Obama appears in Superior), and war often plays a big role in those comics. But, based on the comics he writes, I have a hard time discerning what sorts of politics Millar himself might hold, aside from being very pro-Millar and very pro-capitalism, particularly in that it can help enrich Millar.
Take Civil War, for example, which was discussed and even, to some extent, sold as a timely dramatization of the post-9/11 security vs. liberty debate as seen through the lens of Iron Man and Captain America punching each other.
Millar cast the security side of the debate as the bad guys, clearly aligned with the Bush administration, the first issue ending with a scene of a trio of Marvel's science dickheads—Iron Man, Hank Pym and Mr. Fantastic (who had just recently been outted in someone else's dumb comic as pro-Joe McCarthy)—promising to capture Captain America and force him and all the other recalcitrant superheroes to sacrifice their liberty in the name of security. They immediately start abusing the constitution, killing someone for resisting an unlawful arrest and even building a superhero version of Guantanamo Bay to indefinitely defer the likes of lawyer-by-day, superhero-by-night Daredevil.
So they're the bad guys, right? But in the last issue, the heroes of 9/11—a sort of Village People version of first responders—tackle Captain America and make him realize that he's the real villain, so he gives up, and Iron Man makes a smug speech about how extra-constitutional power is okay in this instance, because he's a smart guy who will do the right thing with it, so no one should worry.
In the security vs. liberty debate the book was supposedly about, all I could definitely tell about Millar was that he was in favor of Captain America surfing on jet fighters, Goliath getting killed by a robot clone monster and selling as many comics as possible by weird, random, almost-immediately reversed stunt plot points like Peter Parker revealing his secret identity to the world and the dead-from-cancer Captain Marvel appearing out of nowhere all of a sudden for some reason.
The politics of Superior aren't very clear, either, although it's not as concerned with politics as Civil War or any of Millar's Ultimates works have been.
There's just this one scene that sort of sticks out, like a rough edge from an early draft Millar forgot to smoothe out.
Superior, the Superman-analogue who was once a 12-year-old boy with multiple sclerosis named Simon who wished himself into Superman when a little talking monkey in a astronaut's uniform appeared and offered to grant him any wish, is talking to Chris, his only confidant:
It's weird because those statements aren't really based on anything we see within the context of what has come before, nor are they really touched on later in the story, after he tells Chris he wants to start doing more to really change people's lives for the better.
Now, at almost any point in American history it's easy to imagine a person, especially a grown-up adult, saying that America needs to be put back like it used to be. It's an essentially conservative position, just by definition of the word conservative, but Simon/Superior never elaborates on what his mom thinks specifically needs fixed again: The economy? The war? Eroding social services and the safety net they provide for the poor? The loss of civil liberties to President Bush and Iron Man? Too much liberties for gays? Too easy access to birth control and abortions? A black guy being president?
Prior to that statement, the only things Superior really does to help America are prevent accidents, usually in rather dramatic fashion—he catches a falling space station, he stops a speeding train with his bare hands (although it woulda been easier to just move the dude off the tracks before the train could hit him), he drags a lost Russian submarine to land, he carried off a nuclear power plant reactor as it was melting down, he threatened the bullies that picked on him and Chris and, we're told, he prevented every single accident and crime in New York City for three years.
Perhaps that was what was wrong with America, in his mom's view? Too many accidents and urban crime...?
After Superior meets with Obama to talk to him "about winning the war in Afghanistan," Superior goes ahead and does it solo in a single night's work (one suspects Millar doesn't have the greatest grasp of what the "war" in "Afghanistan" actually entails; here it is basically just a bunch of easily identifiable by X-Ray and telescopic vision Taliban members who can be easily captured and arrested by a Superman). The rest of his super-deeds take place in a two-page montage, in which he helps other countries, like preventing a earth quake in China and a flood of the coast of Australia, and brings "more food and volunteers in a single afternoon than citizens expected to meet in a lifetime..."
So perhaps that was what was needed in America? America needed to be the world's policeman, the world's fireman, the world's aid worker, but it needed to do so infinitely better than it had been doing...?
I don't know. I don't suspect Millar does either. It was just a few errant lines of dialogue setting up a tease about the nature of Ormon. But it's a strange reference that asks a question and then never provides an answer.