Superboys
Brad Rizza's Super Boys tells the story of writer Jerry Siegel and his best friend artist Joe Shuster, who together created Superman. It didn't benefit them much. Infamously, as Rizza details, Siegel and Shuster were so desperate to get their creation in print that they sold the rights to Superman for a pathetically low amount, and later, worn down and weary, accepted a very low settlement for the rights to Superboy during a long lawsuit that might have won them more cash.
It's a fairly depressing read. Siegel and Shuster were the sons of Jewish immigrants, something Rizza finds significant but then really doesn't know what to do with, who met in high school. Discovering a mutual love of science fiction and horror movies, they began to create comics together, starting with Shuster illustrating Siegel's high school stories, and continuing onto real comics. They created several in multiple genres. Superman was their first, and really only, blockbuster success, and it was followed by lawsuits, World War II, more lawsuits, financial problems and a pathetic interview at an early Comic Con where fans helped Siegel lobby Warner Brothers for cash before the release of the 1978 Superman movie. Things even once reached the point where Jerry Seigel attempted to turn his publishers into the FBI. This failed, because the snappily dressed J. Edgar Hoover didn't know who Siegel was.
Siegel did write other things post Superman, going here, there, and everywhere; Rizza, a major Siegel fan, likes many of these later efforts, especially those written for Archie Comics, more than Siegel's publishers did. Shuster had more issues. After watching Siegel walk off with his girlfriend (they later married) in a drama that apparently no one wanted to get on record about, Shuster ended up drawing a lot of pornographic cartoons and sleeping on city streets. Later, he rushed into an apparently none too happy marriage.
So, yeah, not the most pleasant of reads. It's also not helped by the problem that from time to time Rizza seems to have issues distinguishing the early lives of Jerry and Joe, whose families did come from similar backgrounds, and by the fact that at the time of Rizza's writing and interviews, both estates were involved in a bitter lawsuit with Warner Brothers, and were therefore reluctant to speak too much on the record. In some cases, Rizza admits that he's not clear on the timeline, which muddles things further. Also, Rizza's clear hero-worship of Siegel hampers him from time to time: reading through the lines, it's fairly evident that from time to time Siegel was just not a nice man. He went through a nasty divorce and was estranged from his son. (In a nasty twist, the son only contacted Siegel's daughter, his half-sister, over concerns about legal issues with Warner Brothers.) At other times, Siegel could be by all reports generous and kind, but there's stuff there that Rizza doesn't seem to want to deal with.
But the book does have some fun tidbits of information about the early days of science fiction (Hugo Gernsback really treated everyone like crap, didn't he? Can I just pretend that the Hugo Awards are named for Victor Hugo, not him? Thanks muchly), comics, cartoons and the start of San Diego Comic Con. Rizza's done a good job of detailing life in Cleveland between the wars, and if you're at all interested in the history of comics, this is worth a read.
It's a fairly depressing read. Siegel and Shuster were the sons of Jewish immigrants, something Rizza finds significant but then really doesn't know what to do with, who met in high school. Discovering a mutual love of science fiction and horror movies, they began to create comics together, starting with Shuster illustrating Siegel's high school stories, and continuing onto real comics. They created several in multiple genres. Superman was their first, and really only, blockbuster success, and it was followed by lawsuits, World War II, more lawsuits, financial problems and a pathetic interview at an early Comic Con where fans helped Siegel lobby Warner Brothers for cash before the release of the 1978 Superman movie. Things even once reached the point where Jerry Seigel attempted to turn his publishers into the FBI. This failed, because the snappily dressed J. Edgar Hoover didn't know who Siegel was.
Siegel did write other things post Superman, going here, there, and everywhere; Rizza, a major Siegel fan, likes many of these later efforts, especially those written for Archie Comics, more than Siegel's publishers did. Shuster had more issues. After watching Siegel walk off with his girlfriend (they later married) in a drama that apparently no one wanted to get on record about, Shuster ended up drawing a lot of pornographic cartoons and sleeping on city streets. Later, he rushed into an apparently none too happy marriage.
So, yeah, not the most pleasant of reads. It's also not helped by the problem that from time to time Rizza seems to have issues distinguishing the early lives of Jerry and Joe, whose families did come from similar backgrounds, and by the fact that at the time of Rizza's writing and interviews, both estates were involved in a bitter lawsuit with Warner Brothers, and were therefore reluctant to speak too much on the record. In some cases, Rizza admits that he's not clear on the timeline, which muddles things further. Also, Rizza's clear hero-worship of Siegel hampers him from time to time: reading through the lines, it's fairly evident that from time to time Siegel was just not a nice man. He went through a nasty divorce and was estranged from his son. (In a nasty twist, the son only contacted Siegel's daughter, his half-sister, over concerns about legal issues with Warner Brothers.) At other times, Siegel could be by all reports generous and kind, but there's stuff there that Rizza doesn't seem to want to deal with.
But the book does have some fun tidbits of information about the early days of science fiction (Hugo Gernsback really treated everyone like crap, didn't he? Can I just pretend that the Hugo Awards are named for Victor Hugo, not him? Thanks muchly), comics, cartoons and the start of San Diego Comic Con. Rizza's done a good job of detailing life in Cleveland between the wars, and if you're at all interested in the history of comics, this is worth a read.