“Rayguns?” That’s important enough to make the title? Stardust, sure, though more in the Ziggy sense than the “we are all” sense. And Moonage Daydreams, why of course. But why rayguns?
If I had been the editor of this book, I would have asked, “Why not “Starmen?” Or maybe “Pretty Things.” Even “Space Oddities,” though that would be a bit on-the-nose.
(Note: I am pretty sure my willingness to ask dumb questions was not instrumental in being cast out of the world of Sfnal Editorial work. Pretty sure. Yeah.)
But that’s the title we have, even though (he said, hitting the tedious point for the last time, he promises) there are no rayguns in this book. Bowie: Stardust, Rayguns, and Moonage Daydreams . A biographical graphic novel about the chap born David Jones, but better known under his stage name. Primarily focused on the creation of and tour following the The Rise and Fall of Ziggy Stardust and the Spiders from Mars record from 1972.
(And, frankly, I’m pretty sure someone, at some time during the creation of this book, lamented that the perfect title had already been taken, by that album. And maybe someone toyed with the idea of re-using the title.)
It’s drawn by Michael Allred and colored by Laura Allred. The script seems to be, from M. Allred’s afterword, mostly by Steve Horton, working from an Allred outline and list of important story beats, and then extensively worked over by both of them. (Horton did a lot of work, definitely, even if the art is all Allred and the words are at least somewhat Allred.)
It opens on the last night of the Ziggy tour, in 1973, in London. That’s our frame: it leaps back to show Bowie’s early career up to that point, in at least sketchy form. Unlike a lot of biographical stories, it doesn’t get into childhood at all: there’s a montage of David Jones At Various Youthful Ages on the first page, but that’s literally it. Instead, it’s all career: what he recorded when, who he worked with, who he knew and bounced off in London in the late ’60s and early ’70s.
Horton and Allred get a bit name-dropp-y with that, frankly, as they try to show that Bowie was the center of everything and influential on everyone and the best musician of any kind ever. I mean, I get that they love Bowie and especially this period: you don’t spend months or years on a project like this without that level of love. But a bit of context goes a long way, and a bit of idol-worship is more than enough.
It’s also all more than a little compressed: Horton and Allred are huge fans, so they’re trying to get every last moment and idea in that they can, and the book comes across a bit staccato because of that. If you are a huge Bowie fan, that will be great: you don’t need context, and it gives you more recognizable moments and ideas. For those of us who are more vaguely Bowie-positive, it’s a flood of panels, many of which seems to be heading off in different directions to tell us something else.
Allred also drops into phantasmagoria a few times, in what may be meant to be chapter breaks and an extended visual overview of Bowie’s later career at the end. These are wordless pages, crammed with images, most but not quite all of them images of Bowie in various guises and stages of his career. They are gorgeous and impressive and stunning, but not really comics, since they deliberately don’t tell any story.
All in all, this is a book that is better the more of a Bowie fan you are. Not a fan at all: you will be bored and confused. Enjoy his music: it will be pleasant and enjoyable, though maybe a little much. Huge Ziggy-era stan: you will love it, though probably also find things to nitpick, because stans must always stan.