I could cynically point out that there were a lot more such checks that were hardly worth the paper they were written on for characters that are now consigned to the closet of failed ideas.
This is how the business worked back in those days. It would have been great if S&S had been able to make a living from Superman in their days though.
Whoa...
Know your history before you spout off nonsense!
Just because you can't emotionally accept the way things turned out doesn't mean your perspective is right, either.
Siegel and Shuster were among the best-paid comic creators in the 1940s. They were paid on the order of $100,000 each per year back then.
That's equivalent to more than a million dollars per year today.
(Of course, they didn't keep the money for long. They didn't invest their money well and had a staff of other artists they had to pay. On top of that, Siegel was juggling two wives and a kid... Their personal lives were a mess!)
Until their first lawsuit with DC in the late 1940s, Siegel and Shuster were also among the very few comic creators who continued to be credited for their creation amongst multiple comic books AND films irregardless of who actually drew or wrote the Superman comics. Usually after the original creators left the characters they created, their credits were dropped from the continuing comics. The Fleischer Superman cartoons also acknowledge them as the creators of Superman. Siegel and Shuster's bylines were dropped from Superman comics (and future films post-1946) AFTER they left DC and filed their 1940s lawsuit.
Yes, the duo ultimately lost out on licensing, but that was standard practice back then (and still is today) like it or not, and they were not the only creators who left jobs or changed companies. You have to have serious clout within a company, be a dying creator whose story is being screamed out before the movie of their character is released, or own your own publishing house to get royalties on character merchandising... and guess what, most people who create characters for other companies are NOT taking the financial risks in publishing and marketing -- the companies are! That's work-for-hire.
Joe Simon and Jack Kirby -- the most successful comics creators of the 1940s and 1950s -- left Timely (now Marvel) for DC Comics because of disputes over royalties owed by their boss, Martin Goodman. on Captain America. The difference between Siegel and Shuster and the latter pair was that the latter pair of creators were able to successfully create marketable/lasting characters that made money AFTER their first huge hit (Captain America). Siegel and Shuster -- separately or as a team -- were never able to create newer characters that had 1/100th the impact of Superman.