CBR reports as middleman of an argument between the band Fall Out Boy and Dabel Bros. Publishing that despite the Dabel's February announcement of a "Fall Out Boy" comic book, the band never really wanted anything to do with the project, even if it hadn't been derailed by "the Simpsons" lawyers (because they already have their own comic book about the Fall Out Boy character, for whom the band was named).
There's a lot of nonsense about what happened when and who said what during the supposed deal, but it's best summed up by drummer and comic fan Andy Hurley's statement that "If it's a comic about our band, it's the lamest thing ever."
I kind of wish I could have used this back in May, when I wrote this article for Billboard about the new crop of comics/music industry crossovers and what kinds of projects are likely to have the most traction with fans of both art forms. With the help of folks like Rantz Hoseley (editor of Tori Amos's upcoming "Comic Book Tattoo"), Joe Keatinge (of Image), Gail Simone (who adapted Avril Lavigne's "Girlfriend" for all the right reasons, and there actually are some), and Douglas Wolk (who is really the expert on anything related to comics and music whatsoever), I got a pretty good sense that a comic book spinoff of a real rock band running around having adventures has fairly significant limitations in the areas of audience, storytelling, artistic innovation and longevity, among others. Crossovers can definitely work, but my central conclusion was that a musician who wants to break into comics as either an artistic endeavor or branding opportunity really has to treat the project like any other new release. Reading the description of Fall Out Boy's almost non-existent involvement in the project, plus the view of Hurley, who knows more than a little about comics, it appears this project would have gone almost nowhere, even if it had been printed. And even if it had sold some copies, it likely would have been the lamest thing ever.