Review: Graphic novel captures the ’70s glory of Bowie and Ziggy
In the 2003 song “New Killer Star” David Bowie sings: “See my life in a comic/ Like the way they did the Bible/ With the bubbles and action/ The little details in color.”

Writer/artist Michael Allred says these lyrics refer to his 1997 graphic novel, “Red Rocket 7,” which tells the tale of an alien who becomes a rock star on Earth, interacting in Zelig-like fashion with musicians of the period, including Bowie. The similarities to Bowie’s character, Ziggy Stardust, are obvious and intended. Mr. Allred has had a lifelong love of both Bowie and comics. His newest graphic novel, “Bowie: Stardust, Rayguns & Moonage Daydreams,” is a mixture of both.

Bowie and comics are a natural fit. Few other rock stars so fully incorporate the themes of science fiction and superheroes as an intrinsic part of their visual style. This is especially true of Bowie’s glam phase in the early 1970s, the period this book focuses on.

Collaborator Steve Horton provided the initial script and brought new perspectives and a wealth of research to Mr. Allred, complementing his artistic vision. There are better, far more detailed biographies of Bowie available, but this one is perfect for readers who want a broad overview of his career. The graphic novel’s art is filled with guest appearances by other rock stars of the era, Easter eggs for those in the know and visual puns referencing a larger tableau.

Much of what appears here is a symbolic biography. Bowie has talked about the Ziggy Stardust period as a metaphorical possession, as though Ziggy were another entity that took him over and controlled his life. Using the visual power of comics, Mr. Allred presents this as a reality, though it can still be interpreted as a symbol. The strength of this project lies in the intersection of stellar visuals and their power as representational allegory.

Mr. Allred’s clean, naturalistic style is beautiful and perfect for this project. Many graphic novels with “realistic” artwork slip into the uncanny valley in ways that can be distracting. Mr. Allred treads that line perfectly. There is an obvious use of photo reference here, specifically where he lovingly reproduces album and magazine covers. But his style stays firmly within the realm of cartooning.

What steals the show is the perfect marriage of his artwork with the colors chosen by his wife, Laura Allred. Some theorize that color television’s rise in the late ’60s led to the glam explosion, as musicians went to greater lengths to stand out visually from other performers. One specific appearance by Bowie on the TV show “Top of the Pops,” chronicled in the book, was a galvanizing event for British youth. Ms. Allred’s colors are bright and expressive and often as symbolic and metaphorical as the art. Light and glitter seem to spray from the page.

Bowie’s career was long and varied, and no one moment can encapsulate the fullness of his work or his influence. The early ’70s focus of “Bowie: Stardust, Rayguns & Moonage Daydreams” covers what is arguably his most visually stunning period. It is also the period that made him a star and brought him to international attention.

The production of a graphic novel is work-intensive and time-consuming, so it is not surprising that the creators chose to limit the scope of what they covered. The book ends around the time of the “Diamond Dogs” album and the single “Rebel, Rebel,” but other periods are no less rich and interesting. There is a several-page montage at the end that features highlights from the rest of Bowie’s life, and while this acknowledgement is appreciated, it leaves the reader wanting more.

The biography is not complete, though a larger project would no doubt take many more years. Here’s hoping Mr. Allred and company come back for several sequels.

Wayne Wise is a freelance writer living in Lawrenceville. His blog is at http://www.wayne-wise.com.