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Alipin Trilogy #1
Wing of the Locust
Tuan escapes his mundane and mediocre existence when he is apprenticed to Muhen, a charming barangay wiseman. But, as he delves deeper into the craft of a mambabarang and its applications in espionage, sabotage and assassination, the young appentrice is overcome by conflicting emotions that cause him to question his new life.
240 pages, Paperback
First published December 1, 2020
13 people are currently reading
477 people want to read
About the author
Joel Donato Ching Jacob
10 books18 followersJoel Donato Jacob, aka Cupkeyk, is a member of Linangan ng Imahen, Retorika at Anyo, the Philippines’ longest standing literary organisation. He hikes up at least one mountain a month and plays role-playing games or board games with friends weekly. He is an advocate of reproductive health, ethical veganism and fitness.
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Displaying 1 - 30 of 54 reviews
August 10, 2022
Vibrant. Soul-stirring. Riveting.
Wing of the Locust by Joel Donato Ching Jacob offers a rich tale of a boy, Tuan, and his spiral adventure towards becoming a mambabarang, a person who practices the dicey art of using insects for healing, espionage, and sabotage. While apprenticing as a mambabarang under the well-known wiseman, Muhen, Tuan encounters the many nuanced forces that hold up the foundation of their small kingdom of Ma’I. He also learns how to navigate through a seemingly rigid society all the while trying to balance his newly found status as the student of an important figure.
This pre-Hispanic Philippine story starts with descriptions of the daily undertakings of the people of Ma’I, focusing on the family of Tuan, and then gradually on the other key individuals. On top of that, we get to know more of the social practices, varying caste and class systems, interesting characters, and the dynamics of these three things that make the kingdom of Ma’I fascinating. That said, I say that the composition about these things is done excellently and skillfully. Jacob’s writing style low-key reminds me of a more sophisticated Brandon Sanderson or Leigh Bardugo, heavy on world-building and adept in smithing words that perfectly describe articles and scenarios. There are words that a post-modern Filipinx would be familiar of and there are alien ones which require checking an encyclopedia, but the glossary provided in the appendix excuses you from doing such thing. The glossary is complete, informative, and provides the necessary context you need in order to understand the world.
One particular scene that made me fall in love of the book—eyes dilated and transformed into hearts—happened in the fourth chapter: “Then Muhen started dancing. Tiny gestures of his flicking wrists and bobbing head set the pace. He was humming at first, tapping his foot on the ground and his fingertips on the pads of his thumbs. Tuan understood: Muhen sand about how short a life it is to toil the earth and feed one’s family, day in and day out; he asked the bees—what are wings for if one cannot fly away? At first, the bees responded in a trickle, and then they streamed toward Muhen. Some of them landed on Muhen, partly curious and investigating, but also reassuring and welcoming.”
This scene still makes me feel something profound. It screams of ‘environmentally conscious’ and ‘respect for nature’. This warmed my heart up and I loved it, but eventually it soured as it made me realize that it reflects the current society’s lack of reverence to nature. As someone who’s aware with the ongoing world problem of environmental degradation this particular scene made me cry. Unlike the ancient characters portrayed in the book, humans of today value nature less and it’s deeply disturbing.
As the story goes on, we see Tuan struggles what young teens normally struggle. Isolation from friends is not a modern problem but an old one and clearly Tuan had to undergo with this too. In the middle of the story, we follow him yearning for acceptance, knowing how much he’s been ostracized in his community. Acceptance makes it harder to obtain as he comprehends that becoming a mambabarang will only compound the rejection and isolation he always felt. This is the part that stirred my soul, for Tuan’s experience hits close to home.
Jacob proficiently interweaves the classic musings on friends and friendship within Tuan’s narrative. It’s very intimate to read about and I assume that it’s eye-opening for those who don’t struggle with this dilemma as well. The friends that Tuan will rekindle with throughout this book are Gilas and Liksi and we see the three of them take perilous adventures together. I like Gilas for his honorable perspective in life, Liksi for her cunning personality, and Tuan for his strong will and perseverance. These three teens dealt with many things, both good and bad, and it made me glad that I saw them grow as the plot progressed.
The last thing I wanted to point out is the riveting action scenes the author wrote. It was perfect! I didn’t find myself having a hard time interpreting and visualizing the scenes because it was intelligible and sufficient. I find the pacing of the plot great too. Not a single thing was boring. All the details contribute to the marvel of this book.
In the end, I’ve given Wings of the Locust five stars. I find this story one of a kind and I love it so much that I cannot truly wait for a sequel. I know I’m keeping my review vague because I just don’t want to spoil the details (yes, the details stole the show for me). I think it would be best if you read this book not knowing much of what it’s about so as for you to truly appreciate what the book wants to achieve.
If you happen to enjoy books that emphasize pre-Hispanic Philippines, appreciation of nature, the subtleties of friendships, and the ‘journey before destination’ story structure, you’d surely love this book. I highly recommend Wing of the Locust.
“I came back because this is who I am and what I can be… but I want to be your friend, not because you find me useful. Although I want you to know you can count on me, I want to be your friend because you trust me and because you like spending time with me.”
Wing of the Locust by Joel Donato Ching Jacob offers a rich tale of a boy, Tuan, and his spiral adventure towards becoming a mambabarang, a person who practices the dicey art of using insects for healing, espionage, and sabotage. While apprenticing as a mambabarang under the well-known wiseman, Muhen, Tuan encounters the many nuanced forces that hold up the foundation of their small kingdom of Ma’I. He also learns how to navigate through a seemingly rigid society all the while trying to balance his newly found status as the student of an important figure.
This pre-Hispanic Philippine story starts with descriptions of the daily undertakings of the people of Ma’I, focusing on the family of Tuan, and then gradually on the other key individuals. On top of that, we get to know more of the social practices, varying caste and class systems, interesting characters, and the dynamics of these three things that make the kingdom of Ma’I fascinating. That said, I say that the composition about these things is done excellently and skillfully. Jacob’s writing style low-key reminds me of a more sophisticated Brandon Sanderson or Leigh Bardugo, heavy on world-building and adept in smithing words that perfectly describe articles and scenarios. There are words that a post-modern Filipinx would be familiar of and there are alien ones which require checking an encyclopedia, but the glossary provided in the appendix excuses you from doing such thing. The glossary is complete, informative, and provides the necessary context you need in order to understand the world.
One particular scene that made me fall in love of the book—eyes dilated and transformed into hearts—happened in the fourth chapter: “Then Muhen started dancing. Tiny gestures of his flicking wrists and bobbing head set the pace. He was humming at first, tapping his foot on the ground and his fingertips on the pads of his thumbs. Tuan understood: Muhen sand about how short a life it is to toil the earth and feed one’s family, day in and day out; he asked the bees—what are wings for if one cannot fly away? At first, the bees responded in a trickle, and then they streamed toward Muhen. Some of them landed on Muhen, partly curious and investigating, but also reassuring and welcoming.”
This scene still makes me feel something profound. It screams of ‘environmentally conscious’ and ‘respect for nature’. This warmed my heart up and I loved it, but eventually it soured as it made me realize that it reflects the current society’s lack of reverence to nature. As someone who’s aware with the ongoing world problem of environmental degradation this particular scene made me cry. Unlike the ancient characters portrayed in the book, humans of today value nature less and it’s deeply disturbing.
As the story goes on, we see Tuan struggles what young teens normally struggle. Isolation from friends is not a modern problem but an old one and clearly Tuan had to undergo with this too. In the middle of the story, we follow him yearning for acceptance, knowing how much he’s been ostracized in his community. Acceptance makes it harder to obtain as he comprehends that becoming a mambabarang will only compound the rejection and isolation he always felt. This is the part that stirred my soul, for Tuan’s experience hits close to home.
“Do we have to get hurt, to belong?”
“When I become a mambabarang, I will have to do things. Worse than getting soot pounded under my skin or having my teeth filed. People will hate me for it, and that is not what I want. I think getting myself hurt sometimes… that is part of learning. But I don’t want to be hated, at least not by my friends.”
Jacob proficiently interweaves the classic musings on friends and friendship within Tuan’s narrative. It’s very intimate to read about and I assume that it’s eye-opening for those who don’t struggle with this dilemma as well. The friends that Tuan will rekindle with throughout this book are Gilas and Liksi and we see the three of them take perilous adventures together. I like Gilas for his honorable perspective in life, Liksi for her cunning personality, and Tuan for his strong will and perseverance. These three teens dealt with many things, both good and bad, and it made me glad that I saw them grow as the plot progressed.
“I needed to be strong enough to save you.”
The last thing I wanted to point out is the riveting action scenes the author wrote. It was perfect! I didn’t find myself having a hard time interpreting and visualizing the scenes because it was intelligible and sufficient. I find the pacing of the plot great too. Not a single thing was boring. All the details contribute to the marvel of this book.
In the end, I’ve given Wings of the Locust five stars. I find this story one of a kind and I love it so much that I cannot truly wait for a sequel. I know I’m keeping my review vague because I just don’t want to spoil the details (yes, the details stole the show for me). I think it would be best if you read this book not knowing much of what it’s about so as for you to truly appreciate what the book wants to achieve.
If you happen to enjoy books that emphasize pre-Hispanic Philippines, appreciation of nature, the subtleties of friendships, and the ‘journey before destination’ story structure, you’d surely love this book. I highly recommend Wing of the Locust.
“I guess this means we all have to keep combing our hair for now… maybe forever.”
September 22, 2020
It gave me a great deal of pleasure and satisfaction to edit The Wing of the Locust. When I first read Joel’s manuscript as chief judge of the Scholastic Asian Book Awards 2018, I was excited by how it was so unapologetically rooted in Asian, and more specifically Filipino, mythology.
In my role as editor at Scholastic Asia, I have read submissions from many aspiring writers. Those who write fantasy fiction are invariably heavily influenced by Western fantasy tropes, their characters based on the kinds of creatures that J. R. R. Tolkien’s Lord of the Rings (LOTR) and, more recently, J. K. Rowling’s Harry Potter series have made familiar and popular with readers and moviegoers everywhere. This is why I can’t stress how important it has been for me to champion the publication of Wing of the Locust and to ensure that its indigenous Filipino content is not compromised or whitewashed.
Joel often says how he grew up loving LOTR and how, as an adult, he’s a fan of George R. R. Martin’s A Song of Ice and Fire. These, however, are not his stories. They don’t reflect his reality, his culture, or his history as a Filipino and as an Asian. Nevertheless, these stories are wholly familiar to Asians. Elves, dwarfs, and dragons (not lóng) are creatures we know, thanks to Western cultural hegemony — European folklore, often by way of Hollywood. Do we know the sigbin? The tikbalang? The sarimanok? Hopefully, in ten or twenty years, Asian mythological characters will also be household names.
My writer friends who submit work to agents and publishers in the West say they are often told that their stories are ‘too Asian’. Yet, it never crosses the minds of these publishers that Asian readers might find books from the West ‘too European’ or ‘too American’. The thing is, they never are. Remember how we used to devour Enid Blyton despite never having encountered bullseyes, potted meat or double cream? And this was back when there was little or no way to research what these things were.
It’s ridiculous that 21st-century readers, with the world at their fingertips, might find anything too alien or foreign. In the first place, a good story would make short work of any unfamiliar elements. Context and well-crafted sentences should be all a reader needs not to feel stranded in a sea of unusual terms.
When agents and publishers in the West block the publication of Asian work because the content is too ‘peculiar’, too ‘local’, too ‘weird’, they aren’t only underestimating the reader’s capacity to comprehend and embrace the unfamiliar, but also dictating, to the world at large, what parts of Asian culture are acceptable and palatable, even appropriate, for sharing. Thus far, it is the mythology of east and south Asia that has gained the West’s recognition. Sadly, many Asians are still only too willing to be guided by Western ‘rules’ and ‘standards’, even discounting the worth of our own cultural products unless they have the Western stamp of approval in terms of publication, distribution and awards. I say it is time for south-east Asia to shine.
The Scholastic Asian Book Award is, I feel, a small, but important effort to acknowledge the rights of Asian writers and readers to Asian content from all corners of the continent, and that is boldly and baldly unexoticised.
Wing of the Locust and the other titles we publish aim to tell as many versions of the Asian story as possible, on Asian terms, without glamorizing, fetishizing and romanticizing our varied cultural traditions, beliefs and practices, our myriad ways of life.
In my role as editor at Scholastic Asia, I have read submissions from many aspiring writers. Those who write fantasy fiction are invariably heavily influenced by Western fantasy tropes, their characters based on the kinds of creatures that J. R. R. Tolkien’s Lord of the Rings (LOTR) and, more recently, J. K. Rowling’s Harry Potter series have made familiar and popular with readers and moviegoers everywhere. This is why I can’t stress how important it has been for me to champion the publication of Wing of the Locust and to ensure that its indigenous Filipino content is not compromised or whitewashed.
Joel often says how he grew up loving LOTR and how, as an adult, he’s a fan of George R. R. Martin’s A Song of Ice and Fire. These, however, are not his stories. They don’t reflect his reality, his culture, or his history as a Filipino and as an Asian. Nevertheless, these stories are wholly familiar to Asians. Elves, dwarfs, and dragons (not lóng) are creatures we know, thanks to Western cultural hegemony — European folklore, often by way of Hollywood. Do we know the sigbin? The tikbalang? The sarimanok? Hopefully, in ten or twenty years, Asian mythological characters will also be household names.
My writer friends who submit work to agents and publishers in the West say they are often told that their stories are ‘too Asian’. Yet, it never crosses the minds of these publishers that Asian readers might find books from the West ‘too European’ or ‘too American’. The thing is, they never are. Remember how we used to devour Enid Blyton despite never having encountered bullseyes, potted meat or double cream? And this was back when there was little or no way to research what these things were.
It’s ridiculous that 21st-century readers, with the world at their fingertips, might find anything too alien or foreign. In the first place, a good story would make short work of any unfamiliar elements. Context and well-crafted sentences should be all a reader needs not to feel stranded in a sea of unusual terms.
When agents and publishers in the West block the publication of Asian work because the content is too ‘peculiar’, too ‘local’, too ‘weird’, they aren’t only underestimating the reader’s capacity to comprehend and embrace the unfamiliar, but also dictating, to the world at large, what parts of Asian culture are acceptable and palatable, even appropriate, for sharing. Thus far, it is the mythology of east and south Asia that has gained the West’s recognition. Sadly, many Asians are still only too willing to be guided by Western ‘rules’ and ‘standards’, even discounting the worth of our own cultural products unless they have the Western stamp of approval in terms of publication, distribution and awards. I say it is time for south-east Asia to shine.
The Scholastic Asian Book Award is, I feel, a small, but important effort to acknowledge the rights of Asian writers and readers to Asian content from all corners of the continent, and that is boldly and baldly unexoticised.
Wing of the Locust and the other titles we publish aim to tell as many versions of the Asian story as possible, on Asian terms, without glamorizing, fetishizing and romanticizing our varied cultural traditions, beliefs and practices, our myriad ways of life.
December 14, 2020
When I found out that this book will center sa journey ng bida nating nagtetrain as mambabarang, I was like, "Bitch, I need this book!" Kaya, thankful ako kay Ms. Zarah Gagatiga for inviting me to be part of this blog tour and for Scholastic Asia for sending me this copy of Wing of the Locust by Joel Donato Ching Jacob.
What I love the most about this book is the pure and unexploited Philippines settings. Ito yung Pilipinas na hindi pa nasasakop. Yung Pilipinas na may mga Datu, Aliping Sagigilid at Namamahay, na simahan ng mga fantasy elements like, mambabarangs, liksi, at tikbalang. Sobrang naenjoy ko ang Ma'I, to the point na I want to explore it myself. Ang saya lang na this book has a lot of interesting elements na ang sarap i-explore.
Even though I am not attached to any of the characters in here, nakarelate naman ako sa insecurities at sa struggles ng ating main character na si Muhen, lalo na dun sa part na he is not comfortable in showing his body sa ibang tao because nahihiya siya sa mga flaws na maaaring mapuna at mapansin ng ibang tao sa katawan niya. I can also feel yung kagustuhan niya to belong and how that affects his decisions sa librong ito.
The characters that I really want to explore and read more from ay sina, (1) Liksi, because she's a badass bitch! (2) Banig-banig, another deadly badass bitch, and (3) bayugin, a very mysterious and interesting character na hindi pwedeng madikitan ng lupa, ng araw, at mga tao at tagapangalaga ng history ng kanilang lugar.
This book has A LOT of potential but I just felt like I was not given enough. Noong binasa ko 'to, I am excited to explore the world and kung ano ang maiooffer sa akin ng librong ito but it lacks some events for me. Like, alam niyo yung parang walang malaking risks and because of that, wala ring malaking action na nangyari to solve that risk.
To sum my feelings while reading this, para akong sumakay sa roller coaster. I am super excited and I am sooo ready for the ride pero in the end, I spend the whole ride running in a straight line. Walang paghulog, walang pagtiwarik, walang pagbabaliktad. Yes, I enjoyed the view pero hindi ko nakuha yung thrill na inaanticipate ko.
But all in all, I recommend this book if you are a fantasy lover and want to read a book that is unapologetically Filipino.
GRAB A COPY OF THIS BOOK ONCE ITS RELEASED ON DECEMBER 15, 2020!!!!
What I love the most about this book is the pure and unexploited Philippines settings. Ito yung Pilipinas na hindi pa nasasakop. Yung Pilipinas na may mga Datu, Aliping Sagigilid at Namamahay, na simahan ng mga fantasy elements like, mambabarangs, liksi, at tikbalang. Sobrang naenjoy ko ang Ma'I, to the point na I want to explore it myself. Ang saya lang na this book has a lot of interesting elements na ang sarap i-explore.
Even though I am not attached to any of the characters in here, nakarelate naman ako sa insecurities at sa struggles ng ating main character na si Muhen, lalo na dun sa part na he is not comfortable in showing his body sa ibang tao because nahihiya siya sa mga flaws na maaaring mapuna at mapansin ng ibang tao sa katawan niya. I can also feel yung kagustuhan niya to belong and how that affects his decisions sa librong ito.
The characters that I really want to explore and read more from ay sina, (1) Liksi, because she's a badass bitch! (2) Banig-banig, another deadly badass bitch, and (3) bayugin, a very mysterious and interesting character na hindi pwedeng madikitan ng lupa, ng araw, at mga tao at tagapangalaga ng history ng kanilang lugar.
This book has A LOT of potential but I just felt like I was not given enough. Noong binasa ko 'to, I am excited to explore the world and kung ano ang maiooffer sa akin ng librong ito but it lacks some events for me. Like, alam niyo yung parang walang malaking risks and because of that, wala ring malaking action na nangyari to solve that risk.
To sum my feelings while reading this, para akong sumakay sa roller coaster. I am super excited and I am sooo ready for the ride pero in the end, I spend the whole ride running in a straight line. Walang paghulog, walang pagtiwarik, walang pagbabaliktad. Yes, I enjoyed the view pero hindi ko nakuha yung thrill na inaanticipate ko.
But all in all, I recommend this book if you are a fantasy lover and want to read a book that is unapologetically Filipino.
GRAB A COPY OF THIS BOOK ONCE ITS RELEASED ON DECEMBER 15, 2020!!!!
May 2, 2021
Joel Donato Ching Jacob’s debut novel, “Wing of the Locust,” grand prize winner of the 2018 Scholastic Asian Book Awards, is a coming-of-age novel focusing on Tuan, a sickly teenage alipin who’s chosen to be the next mambabarang. The mambabarang is one of the most respected, if not feared, members of their kingdom of Ma’I. To do this he has to leave his family and friends for good and apprentice with the current mambabarang, Muhen, an androgynous man who’s rumored to be around a century old, who can get locusts and other insects to do his bidding.
Set in a reimagined precolonial Philippines, the novel takes time and care to build the fantastic world within it, which to a Filipino reader is at once familiar and not. Here you’ll read about what we learn in our history lessons, like the Maharlika and the Timawa, and the stuff we hear in our local folklore, like the sigbin and the kapre. But the novel takes them on a level that I haven’t seen yet in some similar stories I’ve read, which tend to exoticize the Philippines and our culture.
After the slow yet solid worldbuilding in the first half, the novel becomes fast-paced and action-packed in the second, where Tuan starts to question his destiny and needs to make a tough decision for his loved ones. Tuan exhibits his new abilities, as well as the mortal tolls they take on his frail body.
I’m not that familiar with the tropes of the fantasy genre, but one of the things I particularly like about this novel is that I feel like anime is one of its influences. In Tuan and his two closest friends, Gilas and Liksi, you have your usual trio in most shonen (think of Naruto, Sasuke, and Sakura, or Yuji, Megumi, and Nobara). Tuan is your protagonist who seems weak at first but has an enormous potential lying within him. Gilas is a half-kapre, a character of sheer brute strength. Liksi is a female batibot, an elite warrior trained in stealth and mobility. Their character differences make for an exciting dynamic between them. And Muhen? He’s like Kakashi or Gojo, a mentor who’s just chill and all but is immensely powerful.
Another thing about Muhen, which may be seen as both a strength and a weakness of this book: although not the protagonist, he’s for me the most interesting and realized character in this novel. One of the best passages here is the one that reveals Muhen’s body, detailing where his army of bugs live within him. It’s basically body horror, but it’s written in prose so lush you’ll forget that it’s describing insect-ridden internal organs.
I don’t read young adult novels. It’s not that I find them bad or something; it’s just that I feel like I’m already too old to read them. This is probably the first young adult novel I’ve read as an adult—and I actually enjoyed it. It reminded me of this truth: a book, no matter the genre, no matter the target audience, is enjoyable if it’s written pretty well. And pretty well this book is written, and now I’m waiting for its sequel.
Set in a reimagined precolonial Philippines, the novel takes time and care to build the fantastic world within it, which to a Filipino reader is at once familiar and not. Here you’ll read about what we learn in our history lessons, like the Maharlika and the Timawa, and the stuff we hear in our local folklore, like the sigbin and the kapre. But the novel takes them on a level that I haven’t seen yet in some similar stories I’ve read, which tend to exoticize the Philippines and our culture.
After the slow yet solid worldbuilding in the first half, the novel becomes fast-paced and action-packed in the second, where Tuan starts to question his destiny and needs to make a tough decision for his loved ones. Tuan exhibits his new abilities, as well as the mortal tolls they take on his frail body.
I’m not that familiar with the tropes of the fantasy genre, but one of the things I particularly like about this novel is that I feel like anime is one of its influences. In Tuan and his two closest friends, Gilas and Liksi, you have your usual trio in most shonen (think of Naruto, Sasuke, and Sakura, or Yuji, Megumi, and Nobara). Tuan is your protagonist who seems weak at first but has an enormous potential lying within him. Gilas is a half-kapre, a character of sheer brute strength. Liksi is a female batibot, an elite warrior trained in stealth and mobility. Their character differences make for an exciting dynamic between them. And Muhen? He’s like Kakashi or Gojo, a mentor who’s just chill and all but is immensely powerful.
Another thing about Muhen, which may be seen as both a strength and a weakness of this book: although not the protagonist, he’s for me the most interesting and realized character in this novel. One of the best passages here is the one that reveals Muhen’s body, detailing where his army of bugs live within him. It’s basically body horror, but it’s written in prose so lush you’ll forget that it’s describing insect-ridden internal organs.
I don’t read young adult novels. It’s not that I find them bad or something; it’s just that I feel like I’m already too old to read them. This is probably the first young adult novel I’ve read as an adult—and I actually enjoyed it. It reminded me of this truth: a book, no matter the genre, no matter the target audience, is enjoyable if it’s written pretty well. And pretty well this book is written, and now I’m waiting for its sequel.
August 10, 2021
Actual rating: 2½ stars.
I probably expect a lot.
I probably expect a lot.
March 25, 2022
“Tuan had convinced himself that he wanted to be a mambabarang because he was friendless ; that being a powerful monster was better than being a nobody. Being weak and ugly meant being cast off, just as alone as he would be when he was feared. At least, being feared meant that he would be not weak”.
- Wing of the locust by Joel Donato Ching Jacob
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Despite having flawless vision , i literally couldn’t see that there are 3 moths on the book cover. My not so artistic ass is so dumb thinking that its just some beautiful pattern 🥲🤦♀️. Little did i know that these moths played a big role in main character development which is Tuan. Let me rant about insects first as they are major plot tool for this book - I hate insects especially the one that can fly. It does make my skin crawl reading description of those insects in the book - either fleas, moths or crickets, they are all the same. Now my rant is over, lets get back to the review. We followed the Journey of Tuan on becoming Mambabarang in the Pre-Hispanic Filipino which taken place in Ma’I kingdom. Tuan always felt he was different and did not really fit within the society structure. He was not strong enough work in the field and He was often excluded because of how he looked and people were being weirded out by his presence. Then, he was then bought by Muhen, a prominent Mambabarang. Tuan’s mother couldn’t object to it because of her class and status. Tuan was taken away and started to serve Muhen. Tuan started to feel that being Mambabarang is his calling and he learned more about magic, myth, medicines, herbs and how to cure people’s sickness. Tuan was inquisitive and eager to understand things. Due to this, Muhen was impressed with his learning progress. Tuan then managed to salvage his friendship with Gilas and Liksi . For a short while, Tuan felt normal - like he finally fit in. Due to this rekindled friendship, it made him question whether he really wanted being Mambabarang. Despite being known as the all powerful sorcerer, people shunned Mambabarang. Datu or the upper echelons of Ma’i Kingdom kept Mambabarang at Bay. Mambabarang is expected to come when being summoned and stay away when their service is not required. Gilas is aware that Tuan is not happy. Tuan is dreading the day he become a full fledged Mambabarang is the day he will lose his humanity. Gilas and Liksi decided to try to buy Tuan’s freedom. Unfortunately, it failed and now they both were taken by the Slaver. Tuan knew he alone will not be able to rescue his friends. Hence, he decided to bet himself in the process. The price is too high but for the sake of friendship -“Tuan cursed himself under his breath - he had made three debts of honour within a single day”. Overall, this is a stunning novel. The plot is impeccable and the characters in the story is unique and memorable. Read it because you love fantasy, read it because you wanted to know the imaginary world that is not being white-washed and rejected the coloniser narrative and last but not least, read it if you want an unapologetically filipino tale.
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Side Note : I found few words in the book that is similar with Malay Words. It showed that we are after all connected somehow. Langka = Nangka, Carabou = Kerbau, Diwa = Dewa, Musang, Naga, Pandan, Parang. I couldn’t help but feel “Tabi-Tabi Po = To the side, Please” is pretty similar with how Malays used to say “Cucu tumpang Lalu, Datuk/ Nenek” whenever they are in jungle or forest. The practice is disappearing in Malaysia due to the clashes with Islamic belief.
- Wing of the locust by Joel Donato Ching Jacob
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Despite having flawless vision , i literally couldn’t see that there are 3 moths on the book cover. My not so artistic ass is so dumb thinking that its just some beautiful pattern 🥲🤦♀️. Little did i know that these moths played a big role in main character development which is Tuan. Let me rant about insects first as they are major plot tool for this book - I hate insects especially the one that can fly. It does make my skin crawl reading description of those insects in the book - either fleas, moths or crickets, they are all the same. Now my rant is over, lets get back to the review. We followed the Journey of Tuan on becoming Mambabarang in the Pre-Hispanic Filipino which taken place in Ma’I kingdom. Tuan always felt he was different and did not really fit within the society structure. He was not strong enough work in the field and He was often excluded because of how he looked and people were being weirded out by his presence. Then, he was then bought by Muhen, a prominent Mambabarang. Tuan’s mother couldn’t object to it because of her class and status. Tuan was taken away and started to serve Muhen. Tuan started to feel that being Mambabarang is his calling and he learned more about magic, myth, medicines, herbs and how to cure people’s sickness. Tuan was inquisitive and eager to understand things. Due to this, Muhen was impressed with his learning progress. Tuan then managed to salvage his friendship with Gilas and Liksi . For a short while, Tuan felt normal - like he finally fit in. Due to this rekindled friendship, it made him question whether he really wanted being Mambabarang. Despite being known as the all powerful sorcerer, people shunned Mambabarang. Datu or the upper echelons of Ma’i Kingdom kept Mambabarang at Bay. Mambabarang is expected to come when being summoned and stay away when their service is not required. Gilas is aware that Tuan is not happy. Tuan is dreading the day he become a full fledged Mambabarang is the day he will lose his humanity. Gilas and Liksi decided to try to buy Tuan’s freedom. Unfortunately, it failed and now they both were taken by the Slaver. Tuan knew he alone will not be able to rescue his friends. Hence, he decided to bet himself in the process. The price is too high but for the sake of friendship -“Tuan cursed himself under his breath - he had made three debts of honour within a single day”. Overall, this is a stunning novel. The plot is impeccable and the characters in the story is unique and memorable. Read it because you love fantasy, read it because you wanted to know the imaginary world that is not being white-washed and rejected the coloniser narrative and last but not least, read it if you want an unapologetically filipino tale.
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Side Note : I found few words in the book that is similar with Malay Words. It showed that we are after all connected somehow. Langka = Nangka, Carabou = Kerbau, Diwa = Dewa, Musang, Naga, Pandan, Parang. I couldn’t help but feel “Tabi-Tabi Po = To the side, Please” is pretty similar with how Malays used to say “Cucu tumpang Lalu, Datuk/ Nenek” whenever they are in jungle or forest. The practice is disappearing in Malaysia due to the clashes with Islamic belief.
December 31, 2020
This story pulled me back strong to the past, alright, with a Maculot-high mountain of world-building intricacies and sense-punching descriptions. It jogged whatever memory I had of the things I read, and tried to hit every blow right off the bat, from sight and smell to hearing and taste, which continued on to the next chapters.
Aside from the level of attention to details, I liked that some of the content were verifiable. And not just because the things have been written about but because several traditions and beliefs remain to this day. For example, there were depictions of celebration (festivals, food, culture), competition (cockfighting, pig chasing, pole scaling), and social hierarchy and expectations (purchasing of slave/servant, relationships, acceptance), which are concepts or practices that can be easy to identify with—and not just to a Filipino who may be living in the same Philippine region as the main character Tuan (Laguna province) but to a wider scope of readers as well.
Read full review on Bookbed.
Everything I read in 2020 here :)
Aside from the level of attention to details, I liked that some of the content were verifiable. And not just because the things have been written about but because several traditions and beliefs remain to this day. For example, there were depictions of celebration (festivals, food, culture), competition (cockfighting, pig chasing, pole scaling), and social hierarchy and expectations (purchasing of slave/servant, relationships, acceptance), which are concepts or practices that can be easy to identify with—and not just to a Filipino who may be living in the same Philippine region as the main character Tuan (Laguna province) but to a wider scope of readers as well.
Read full review on Bookbed.
Everything I read in 2020 here :)
December 3, 2020
We think this book is worth checking out! Consider adding it to your to-read pile. :)
Check out more of our recs here:"15 Books to Buy from the Manila International Online Book Fair"
Please note: We don't use ratings but for this purpose, we tag books with three stars by default.
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We also accept review requests. More info here.
Check out more of our recs here:"15 Books to Buy from the Manila International Online Book Fair"
Please note: We don't use ratings but for this purpose, we tag books with three stars by default.
Would like to be a reviewer/contributor to Bookbed? Sign up here!
We also accept review requests. More info here.
December 17, 2020
As a Filipino reading a coming of age story set in pre-colonial times, it further cements the need for more stories like Tuan's. It is ripe with life familiar with us who has lived in the Philippines but also a distant what if filled with surprises.
Though the story mentions of far other civs, we are seeing the story unfold mainly through Tuan's "eyes". This gives the story a grounded sense and does not drown the reader of too many places all at once. Tuan's growth is portrayed naturally to what a teenager would normally feel. The feeling of insecurity of one's self is real and straightforward that I caught myself reliving experiences like what Tuan had.
What I also love about this story is that magick is real and present but used just the right amount. Even the amount of devastation that one can cause was real to the heart.
All in all, this was a fun and amazing read. Hoping for a sequel. (Agad agad? Hehe)
Though the story mentions of far other civs, we are seeing the story unfold mainly through Tuan's "eyes". This gives the story a grounded sense and does not drown the reader of too many places all at once. Tuan's growth is portrayed naturally to what a teenager would normally feel. The feeling of insecurity of one's self is real and straightforward that I caught myself reliving experiences like what Tuan had.
What I also love about this story is that magick is real and present but used just the right amount. Even the amount of devastation that one can cause was real to the heart.
All in all, this was a fun and amazing read. Hoping for a sequel. (Agad agad? Hehe)
September 23, 2020
If you're a Filipino who grew up loving the magical world of Harry Potter, this novel gives us the mambabarang eleganza version of that and so much more! Though rooted in history, WotL plays with with the fantastical and its vivid descriptions--I swear, from tattoo designs, to fashion, to food, and even hygiene--create a richly detailed backdrop of a gorgeously queer/gender-variant, animistic pre-Hispanic Philippines. All characters are fully-realized as well, their desires apparent, and you just can't help but root for them no matter how dire the consequences are. I can't wait to read the sequel!
February 26, 2021
It's the best YA novel I've read in recent years. It's 100% Asian, heavily influenced by Filipino pre-colonial culture and myths, and absolutely entertaining.
August 28, 2021
“History has a good way of remembering heroes because history wants to remember how the monsters were defeated.”
September 4, 2022
This is probably the most difficult book for me to read because it is so rich with Philippine's settings and cultures. But I love exploring new things. Set in the background of pre-Hispanic Philippines, Wing of The Locust explore the journey of a young boy named Tuan to become a mambabarang, the Filipino version of sorcerer and one of the most respected members in Ma’I. To be a mambabarang, Tuan encountered himself under the well-known mambabarang, Muhen. All this time, Tuan felt alienated because of how weak he is and when he saw an opportunity to be respected, he without a doubt took it willingly even though it means he has to leave all of his family behind.
Tuan was eager to learn about magic, myth and how to cure people’s sickness. His pure heart makes it easier to adapt to being a mambabarang.
"History has a good way of remembering heroes because history wants to remember how the monsters were defeated."
80 pages in and I'm struggling connecting with the story. Maybe because of the unknown premises and the language but I took my time and it was a good read. Furthermore, I like how the settings and the details are very vivid and vibrant because it made me more excited to learn about the class systems, the Kingdom of Ma’I and the characters. Other than that, Wing of The Locust is also heavy on world-building. Out of all the characters, I think the most interesting one is Muhen because of the unique details on his body, making him the character that is hard to forget. I liked how Muhen gave Tuan a second chance to prove himself to everyone and made Tuan feel like he was actually valuable.
Despite being ostracized, I am happy Tuan found his true strength and stumbled upon a friendship with Gilas and Liksi. My favorite scene from this book is when Tuan will do anything for the sake of friendship, even if he would get killed. Other than the heavy detailed scene, towards the end, this book was action packed but I wish there was more. I also felt like the exploration of the characters was not enough. However, it was great to learn about Filipino folktales, black magic, its foods and cultures.
If you’re looking to expand your variety of fantasy, this might be the best. Thank you Scholastic Asia for sending me this book. You can get the same copy on Shopee/Lazada with promotion buy 2 at 30% off until the end of September
Tuan was eager to learn about magic, myth and how to cure people’s sickness. His pure heart makes it easier to adapt to being a mambabarang.
"History has a good way of remembering heroes because history wants to remember how the monsters were defeated."
80 pages in and I'm struggling connecting with the story. Maybe because of the unknown premises and the language but I took my time and it was a good read. Furthermore, I like how the settings and the details are very vivid and vibrant because it made me more excited to learn about the class systems, the Kingdom of Ma’I and the characters. Other than that, Wing of The Locust is also heavy on world-building. Out of all the characters, I think the most interesting one is Muhen because of the unique details on his body, making him the character that is hard to forget. I liked how Muhen gave Tuan a second chance to prove himself to everyone and made Tuan feel like he was actually valuable.
Despite being ostracized, I am happy Tuan found his true strength and stumbled upon a friendship with Gilas and Liksi. My favorite scene from this book is when Tuan will do anything for the sake of friendship, even if he would get killed. Other than the heavy detailed scene, towards the end, this book was action packed but I wish there was more. I also felt like the exploration of the characters was not enough. However, it was great to learn about Filipino folktales, black magic, its foods and cultures.
If you’re looking to expand your variety of fantasy, this might be the best. Thank you Scholastic Asia for sending me this book. You can get the same copy on Shopee/Lazada with promotion buy 2 at 30% off until the end of September
June 13, 2022
Joel Donato Ching Jacob's ambitious idea of adapting the high fantasy genre to the pre-colonial Philippines setting in his debut novel, Wing of the Locust, was already a feat in itself. The world-building and the introduced culture and traditions were exquisitely crafted. But it felt like the characters and the story weren't given the same energy, focus, and keen detailing that were obviously devoted in creating the world of Ma’I. And this left me quite underwhelmed, especially since I had high expectations for a book with such a fascinating plot.
While I do understand that world-building is the more important aspect of creating stories in the high-fantasy genre, dedicating more than half of the book to it left the impression that the other aspects—the proper story-telling, fleshing out the characters—are neglected. The book itself felt too short and it did have the potential to be a longer one and it might flourish better if it was actually expanded. Discounting my nitpicking of how some events jump from one to another with a not-so smooth transition, the pacing of the story felt off, still. The major conflict happened during the last hundred pages and it was a single, long moment. And while this became catalysts for story and character developments, it felt too rushed and too late.
There are many things still to like in this novel: from other characters that made such an impact despite their brief appearances—the bayugin and Banig-banig were sure to be fan favorites—to Tuan's coming of age which was in fact delicately and beautifully done. Jacob understood the transition from childhood to manhood all too well and it showed in Tuan's very own growth.
While I do understand that world-building is the more important aspect of creating stories in the high-fantasy genre, dedicating more than half of the book to it left the impression that the other aspects—the proper story-telling, fleshing out the characters—are neglected. The book itself felt too short and it did have the potential to be a longer one and it might flourish better if it was actually expanded. Discounting my nitpicking of how some events jump from one to another with a not-so smooth transition, the pacing of the story felt off, still. The major conflict happened during the last hundred pages and it was a single, long moment. And while this became catalysts for story and character developments, it felt too rushed and too late.
There are many things still to like in this novel: from other characters that made such an impact despite their brief appearances—the bayugin and Banig-banig were sure to be fan favorites—to Tuan's coming of age which was in fact delicately and beautifully done. Jacob understood the transition from childhood to manhood all too well and it showed in Tuan's very own growth.
September 19, 2022
It's a rare and beautiful thing to be immediately enraptured on the first encounter. Wing of the Locust conjures up a world devoid of the colonial, returning to the native. The young Tuan, already an outcast in society, is taken in by Muhen, a mambabarang, who trains him in the art of using insects for sorcery. I literally felt a twinge from within when I put this book down after reading the first chapter—a thrill, a rush of adrenaline, the only introductory chapter to ever exist. Jacob pulls from different genres—it's a coming-of-age, a fantasy, a historical epic—and weaves them all together so effortlessly, the imagery so vividly. Truly, an unforgettable story.
May 20, 2021
Nice and descriptive story of the natives of Philippines if colonization did not happen, and with minor fantasy elements. Very interesting focus on "pambabarang" black magic -- the art of using insects in espionage, sabotage, and healing -- to shape the narrative of the story. Also great introduction to native fantastical creatures like the Sigbin, the Naga, and the Banig-banig, and different special roles of people in the village, like the Bayugin and the Mambabarang (of course).
Overall, an eye-opening read.
Overall, an eye-opening read.
July 9, 2025
Actual Rating: 3.5
August 20, 2025
⭐️⭐️⭐️.5
January 5, 2021
I can't even imagine the amount of research that went into this book to be able to offer such an immersive experience to the reader! Though this is fantasy, the level of detail described takes the reader back to the Philippines before Spanish colonization.
Intended for young adults, I found that the story is still engaging -- even though I am well past being a young adult, haha -- for me to be wanting more installments, by the time I reach the end of the book.
Intended for young adults, I found that the story is still engaging -- even though I am well past being a young adult, haha -- for me to be wanting more installments, by the time I reach the end of the book.
July 20, 2022
Overall, a little underwhelming. The worldbuilding was great, but the novel fell short on everything else. I wish the characters were more developed, the plot more gripping, and the storytelling more engaging.
June 20, 2021
“Do we have to get hurt, to belong?”
Wing of the Locust tells the story of Tuan (a sickly young boy from the slave class of the kingdom of Ma'I), who was chosen by Muhen, a mambabarang (someone who practices the art of using insects for espionage, sabotage, and healing), to be his apprentice. We then follow Tuan's journey, his adventures, and the prejudicial treatment that he has faced in embracing his fate as the mambabarang's apprentice. In this Asian YA fantasy novel, Joel offers his readers an eye-opening reading experience vis-a-vis the pre-Hispanic Philippines' landscape, socio-economic system, culture, custom, folklore, and mythology. Readers were exposed to various cultural and fantastical elements such as the traditions of "bayugin" (a youth raised in seclusion and forced to remember the lore, lineages and other histories until their old age), the Pasinaya festival (a festival celebrating newly made nets), the "banig-banig" (an immortal woman who can transform into a giant snake), the "sigbin" (monsters who like to steal poultry and children), the fleas of Maculot and etc. What is striking here is that Joel went into a detailed examination of the social hierarchical system of Ma'I with the Maginoo (the ruling class of Ma'I) being at the top of the hierarchy and the Alipin (the slave class) being at the bottom of the hierarchy. I would interpret Tuan's journey as an effort to break this rigid caste system as he yearns to belong and accepted by society.
Behind the facade of all these elements, Wing of the Locust is in fact a story celebrating difference, and non-conformity to social expectations. The premise of this story inherently sets itself apart from the "Westernized" YA fantasy novels and serves as a strong voice against the aftermath of postcolonialism (since the story is set in a fictional precolonial Philippines). This would be a more impactful read if the various elements of the story could be inculcated in a more subtle and less info-dumpy manner. Certain plotlines were left hanging which makes me wonder whether there's a sequel to this story? As it stands, Wing of the Locust is a 3/5 star rating to me but I would still applaud Joel for his detailed research and the originality of this novel.
Wing of the Locust tells the story of Tuan (a sickly young boy from the slave class of the kingdom of Ma'I), who was chosen by Muhen, a mambabarang (someone who practices the art of using insects for espionage, sabotage, and healing), to be his apprentice. We then follow Tuan's journey, his adventures, and the prejudicial treatment that he has faced in embracing his fate as the mambabarang's apprentice. In this Asian YA fantasy novel, Joel offers his readers an eye-opening reading experience vis-a-vis the pre-Hispanic Philippines' landscape, socio-economic system, culture, custom, folklore, and mythology. Readers were exposed to various cultural and fantastical elements such as the traditions of "bayugin" (a youth raised in seclusion and forced to remember the lore, lineages and other histories until their old age), the Pasinaya festival (a festival celebrating newly made nets), the "banig-banig" (an immortal woman who can transform into a giant snake), the "sigbin" (monsters who like to steal poultry and children), the fleas of Maculot and etc. What is striking here is that Joel went into a detailed examination of the social hierarchical system of Ma'I with the Maginoo (the ruling class of Ma'I) being at the top of the hierarchy and the Alipin (the slave class) being at the bottom of the hierarchy. I would interpret Tuan's journey as an effort to break this rigid caste system as he yearns to belong and accepted by society.
Behind the facade of all these elements, Wing of the Locust is in fact a story celebrating difference, and non-conformity to social expectations. The premise of this story inherently sets itself apart from the "Westernized" YA fantasy novels and serves as a strong voice against the aftermath of postcolonialism (since the story is set in a fictional precolonial Philippines). This would be a more impactful read if the various elements of the story could be inculcated in a more subtle and less info-dumpy manner. Certain plotlines were left hanging which makes me wonder whether there's a sequel to this story? As it stands, Wing of the Locust is a 3/5 star rating to me but I would still applaud Joel for his detailed research and the originality of this novel.
June 22, 2023
I am very, very torn about how to rate this book, because on one hand, it's a precolonial Filipino fantasy, something that I have been wanting to read half my life and something that I want to see more of from the Philippines' publishing industry; but on the other, the story and the writing just didn't really resonate with me. I'm settling for 3-stars, because I think that won't affect the overall rating much, and it's kind of generous for how much I struggled through the novel.
When I first heard about this book, a YA fantasy set in a precolonial Tagalog province, it immediately went to my TBR list. And I would have read it a lot sooner had it been available near me, but no, I ended up buying it from a supplier from Singapore and shipping it all the way to Canada. That's how much I wanted to read a book with this concept! And in that aspect, *Wing of the Locust* did not disappoint. Every page of this novel teemed with the richness and vividness of how one might image precolonial life. I really appreciated how much research went into this, how much of our precolonial society was unapologetically portrayed here. And I really commend the author's bravery for venturing into a world that unfortunately still gets treated with shame and disdain by many modern Filipinos. His author's note at the end of the book was also really heart-warming. I empathize with his longing to see himself and his culture reflected in a genre that oftentimes forgets that Filipinos exist. (Same here, Sir Joel, same here.)
Also, look at that gorgeous cover!
That said...
Oh boy, I just really had a tough time with the story. The 3rd-person omniscient, telling-heavy narration is just so different from the genre norms nowadays. The narrative was also strangely neither plot-driven nor character-driven. In a weird way, I would almost say it was *world-driven*. Events occurred and characters made decisions so the reader could be told about the different aspects of society. It was not entirely clear to me what Tuan's goals really were. Did he want to make friends, fit in, find self-love, be a good apprentice, solve the mysteries plaguing his barangay, reconcile duty with kindness, etc.? Plot points came and went without much setup, foreshadowing, or stakes, and hence, I had a hard time grasping the emotional impact of these events. For example, the climax focused on kidnapped children, and yet when Tuan had first discovered the children were getting kidnapped a few chapters earlier, he was relieved! Because it meant that his mentor wasn't the one killing the children. There was a lot of discussion about friendship, but Gilas and Liksi were conspicuously absent in the first quarter of the book, which made me wonder how important their friendships had been to Tuan in the first place.
I do recognize that a lot of the narrative techniques I'm talking about mostly come from the western tradition of genre fiction. And I do admit that much of my reading diet is overwhelmingly western. But perhaps there's a different standard for Filipino literature, and I'm being unfair in measuring this novel against standards that perhaps it never set out to meet. (Does the Filipino fantasy genre have its own narrative tradition? I feel like the genre is way too young and way too sparse to say so. The couple of Filipino fantasy I've read like Trese and Janus Silang fit quite well with my expectations.)
I realize that I'm asking something from this book that it probably didn't intend to give, and really the only solution I can see is for the publishing industry to just publish more precolonial Filipino fantasy! This book has already won an award. I'm surprised it hasn't yet ushered in an era of precolonial enthusiasts crafting stories where representation and heritage finally get to meet.
When I first heard about this book, a YA fantasy set in a precolonial Tagalog province, it immediately went to my TBR list. And I would have read it a lot sooner had it been available near me, but no, I ended up buying it from a supplier from Singapore and shipping it all the way to Canada. That's how much I wanted to read a book with this concept! And in that aspect, *Wing of the Locust* did not disappoint. Every page of this novel teemed with the richness and vividness of how one might image precolonial life. I really appreciated how much research went into this, how much of our precolonial society was unapologetically portrayed here. And I really commend the author's bravery for venturing into a world that unfortunately still gets treated with shame and disdain by many modern Filipinos. His author's note at the end of the book was also really heart-warming. I empathize with his longing to see himself and his culture reflected in a genre that oftentimes forgets that Filipinos exist. (Same here, Sir Joel, same here.)
Also, look at that gorgeous cover!
That said...
Oh boy, I just really had a tough time with the story. The 3rd-person omniscient, telling-heavy narration is just so different from the genre norms nowadays. The narrative was also strangely neither plot-driven nor character-driven. In a weird way, I would almost say it was *world-driven*. Events occurred and characters made decisions so the reader could be told about the different aspects of society. It was not entirely clear to me what Tuan's goals really were. Did he want to make friends, fit in, find self-love, be a good apprentice, solve the mysteries plaguing his barangay, reconcile duty with kindness, etc.? Plot points came and went without much setup, foreshadowing, or stakes, and hence, I had a hard time grasping the emotional impact of these events. For example, the climax focused on kidnapped children, and yet when Tuan had first discovered the children were getting kidnapped a few chapters earlier, he was relieved! Because it meant that his mentor wasn't the one killing the children. There was a lot of discussion about friendship, but Gilas and Liksi were conspicuously absent in the first quarter of the book, which made me wonder how important their friendships had been to Tuan in the first place.
I do recognize that a lot of the narrative techniques I'm talking about mostly come from the western tradition of genre fiction. And I do admit that much of my reading diet is overwhelmingly western. But perhaps there's a different standard for Filipino literature, and I'm being unfair in measuring this novel against standards that perhaps it never set out to meet. (Does the Filipino fantasy genre have its own narrative tradition? I feel like the genre is way too young and way too sparse to say so. The couple of Filipino fantasy I've read like Trese and Janus Silang fit quite well with my expectations.)
I realize that I'm asking something from this book that it probably didn't intend to give, and really the only solution I can see is for the publishing industry to just publish more precolonial Filipino fantasy! This book has already won an award. I'm surprised it hasn't yet ushered in an era of precolonial enthusiasts crafting stories where representation and heritage finally get to meet.
January 5, 2022
Wing of the Locust is the first in a planned book series featuring the story of a young alipin or slave, Tuan, as he becomes the apprentice of the barangay’s resident mambabarang (sorcerer) and wiseman Muhen. Tuan grew up too frail for work on the rice fields and not fit to become a scholar, so when he gets the chance to escape his unremarkable life, he grabs it. He soon finds out that being a mambabarang, the person the kingdom trusts for healing, espionage, sabotage, and assassination, requires sacrifices and isn’t as easy and glamorous as it might look like.
The highlight of the book is its vivid worldbuilding. The story is set in the Kingdom of Ma’l, which is inspired by pre-colonial Philippines, specifically the Southern
Luzon region, sprinkled with fantasy elements such as magic and supernatural creatures. The magic system is focused on utilizing nature: herbs, plants, and insects, which is only fitting as ancient Filipinos have agricultural-based livelihoods. Instead of the usual dwarves, elves and faerie, beings from folktales like sigbin and kapre are brought to life. Ma'l has customs that will remind you of present-day Philippines. In Ma’l, parents use their children to get out of poverty. Gossip is a form of entertainment.
While showing us what the country was like before Spain's colonization, it also addressed the flawed system and customs of that period. The wide class inequality between the maginoo (ruling class) and alipin played a part on how the characters view the world around them. Tuan himself is bought from his mother.
Speaking of the characters, we are introduced to a small but interesting cast. Muhen is the fun mentor whose presence makes the book a lot better. Gilas and Liksi are Tuan’s friends who join him in adventures and have their own qualities and perspectives. I hope the sequel shows us more of them. I don't like Fangren but I'd like to see what his future role will be.
Tuan is bullied and repeatedly called “monkey” because of his face structure. He always felt that her mother favored his sister. Once he became Muhen’s apprentice, I like how things didn’t go magically better as Muhen doesn’t have a good reputation himself and he discovers what a mambabarang will be required to do. He questions the new life he has been given. Tuan dealing with his insecurities is something that I think many can relate with. His journey to self-acceptance becomes the central story and driving force of the novel.
Having said that, I think the book fell a bit short on the plot and the action. Tuan’s internal conflict overshadowed the actual conflict of the story. Children from the village mysteriously disappearing didn't feel as urgent as it should be. There are only limited displays of power since Tuan is just starting to learn and I hope the sequel features creative ways to feature the mambabarang's skills.
Pick up Wing of the Locust for the fresh magic system and setting as colorful as the book cover, keep reading it for Tuan's compelling journey.
The highlight of the book is its vivid worldbuilding. The story is set in the Kingdom of Ma’l, which is inspired by pre-colonial Philippines, specifically the Southern
Luzon region, sprinkled with fantasy elements such as magic and supernatural creatures. The magic system is focused on utilizing nature: herbs, plants, and insects, which is only fitting as ancient Filipinos have agricultural-based livelihoods. Instead of the usual dwarves, elves and faerie, beings from folktales like sigbin and kapre are brought to life. Ma'l has customs that will remind you of present-day Philippines. In Ma’l, parents use their children to get out of poverty. Gossip is a form of entertainment.
"The finest piece of bodily protection in the barangay was worn by a man who had never and might never experience conflict firsthand."
While showing us what the country was like before Spain's colonization, it also addressed the flawed system and customs of that period. The wide class inequality between the maginoo (ruling class) and alipin played a part on how the characters view the world around them. Tuan himself is bought from his mother.
“We are all expendable! If you aren’t Datu, you live to serve the wishes of the Datu. And if you don’t do it, there is always someone else who will.”
Speaking of the characters, we are introduced to a small but interesting cast. Muhen is the fun mentor whose presence makes the book a lot better. Gilas and Liksi are Tuan’s friends who join him in adventures and have their own qualities and perspectives. I hope the sequel shows us more of them. I don't like Fangren but I'd like to see what his future role will be.
Tuan is bullied and repeatedly called “monkey” because of his face structure. He always felt that her mother favored his sister. Once he became Muhen’s apprentice, I like how things didn’t go magically better as Muhen doesn’t have a good reputation himself and he discovers what a mambabarang will be required to do. He questions the new life he has been given. Tuan dealing with his insecurities is something that I think many can relate with. His journey to self-acceptance becomes the central story and driving force of the novel.
"Do we have to get hurt, to belong?"
Having said that, I think the book fell a bit short on the plot and the action. Tuan’s internal conflict overshadowed the actual conflict of the story. Children from the village mysteriously disappearing didn't feel as urgent as it should be. There are only limited displays of power since Tuan is just starting to learn and I hope the sequel features creative ways to feature the mambabarang's skills.
Pick up Wing of the Locust for the fresh magic system and setting as colorful as the book cover, keep reading it for Tuan's compelling journey.
February 26, 2021
What Wing of the Locust allows its readers is escape a pandemic-ridden reality by transporting them to the quotidian life of natives in the Philippines before the arrival of the colonizers. The novel came to us at a momentous and perilous time.
The most interesting “character” in the novel for me is Ma’i itself—vibrant and teeming with life thanks to the people that inhabit it. As someone interested in human-animal studies, the dialogical relationship between the flora and fauna and the people living in Ma’i was of particular interest. Muhen’s body fleshes out this concept, that our bodies had always been one with nature, before Spaniards came and turned our bodies against us through state and clerical control.
Moreover, what makes the novel transportative is the relatable character Tuan, who, like many of us, has faced/faces personal insecurities as we search for acceptance from the people around us. There’s something amusing and charming with the idea that the problems pre-colonial adolescent natives in the Philippines dealt with aren’t far off with the problems present adolescents and young adults face today.
Though perhaps the downfall of the novel also comes from its strength: the power to world-build. The quarter half seemed rushed, with friendships being formed out of nowhere and layers of trouble unfolding in the same chapters. Ma’i burned down quicker than how it came to life. Perhaps its life mirrors the moth perpetually perched on Muhen? Since moths only live for a short-time, and the life of Ma’i, in many ways rested on the hands of Muhen himself.
Also, there are a few instances when the language took me out of the fantasy. One example is when Tuan told time using “minutes”, which seemed out of place especially when the writer made efforts to dare I say nativize time, such as when characters used the term “harvests” / “harvest season” instead of the word “year”. Also the word “barn” on the first page of the book, carries with it a bucolic sense of English pastures that reminded of a Thomas Hardy novel. (Though I admit maybe I’m just being persnickety).
Wing of the Locust is a great novel that not only recovers our fragments of our stolen past, but also resuscitates the sense of the fantastic living within us,
that sadly our colonizers and various modern apparatuses stymied and constrained for so long.
The most interesting “character” in the novel for me is Ma’i itself—vibrant and teeming with life thanks to the people that inhabit it. As someone interested in human-animal studies, the dialogical relationship between the flora and fauna and the people living in Ma’i was of particular interest. Muhen’s body fleshes out this concept, that our bodies had always been one with nature, before Spaniards came and turned our bodies against us through state and clerical control.
Moreover, what makes the novel transportative is the relatable character Tuan, who, like many of us, has faced/faces personal insecurities as we search for acceptance from the people around us. There’s something amusing and charming with the idea that the problems pre-colonial adolescent natives in the Philippines dealt with aren’t far off with the problems present adolescents and young adults face today.
Though perhaps the downfall of the novel also comes from its strength: the power to world-build. The quarter half seemed rushed, with friendships being formed out of nowhere and layers of trouble unfolding in the same chapters. Ma’i burned down quicker than how it came to life. Perhaps its life mirrors the moth perpetually perched on Muhen? Since moths only live for a short-time, and the life of Ma’i, in many ways rested on the hands of Muhen himself.
Also, there are a few instances when the language took me out of the fantasy. One example is when Tuan told time using “minutes”, which seemed out of place especially when the writer made efforts to dare I say nativize time, such as when characters used the term “harvests” / “harvest season” instead of the word “year”. Also the word “barn” on the first page of the book, carries with it a bucolic sense of English pastures that reminded of a Thomas Hardy novel. (Though I admit maybe I’m just being persnickety).
Wing of the Locust is a great novel that not only recovers our fragments of our stolen past, but also resuscitates the sense of the fantastic living within us,
that sadly our colonizers and various modern apparatuses stymied and constrained for so long.
This entire review has been hidden because of spoilers.
August 11, 2024
This one surprised me in a good way because I keep on seeing mixed reviews before I decided to give it a go and I’m glad that this worked for me as I enjoyed the first book and planning to continue with the second book.
Wing of the Locust is the first book in a fantasy series set in pre-colonial Philippines. I heard from the author that Ma’i, the kingdom where the story took place, is inspired by Laguna at the aforementioned time.
In WOTL, we follow Tuan and his humble life in Ma’i until the day everyone discovered that he is cursed/gifted with the ability of a mambabarang. He then escaped his mundane life and started his apprenticeship under Ma’i’s resident mambabarang, Muhen.
First thing that I really liked is the writing style. I would describe Joel’s style as on-point as he was able to deliver the needed information without sounding overwhelming.
My usual problem with fantasy writers is the way most of them do OA info-dumping in the first few chapters which leads to overcrowding of elements that affect the balance of the story. With WOTL, I didn’t encounter this issue and had a smooth transition learning about Ma’i and how it imprisoned our main character which then transitioned to Tuan’s life before and after the revelation.
There’s also a discussion about social hierarchy during that time and how significant it is to have works showing that our country already have a governing body even before the Spaniards arrived.
And who wouldn’t love reading references that are relatable? This book is Philippines wrapped in a book form and transported centuries ago. There’s too many to mention but you’ll definitely notice those once you read this.
Fantasy, social commentary about power, discussion about family and friendship, Filipino myth and lore - there are so many great things that were included in this book. No wonder why it won Scholastic’s Asian Book Awards.
My only issue is that it is a bit short for my liking. WOTL concluded at around 215 pages but that’s solvable since book 2 (Orphan Price) is already out and I’m excited for what’s more to come to Tuan and his friends.
RATING: 4stars
Wing of the Locust is the first book in a fantasy series set in pre-colonial Philippines. I heard from the author that Ma’i, the kingdom where the story took place, is inspired by Laguna at the aforementioned time.
In WOTL, we follow Tuan and his humble life in Ma’i until the day everyone discovered that he is cursed/gifted with the ability of a mambabarang. He then escaped his mundane life and started his apprenticeship under Ma’i’s resident mambabarang, Muhen.
First thing that I really liked is the writing style. I would describe Joel’s style as on-point as he was able to deliver the needed information without sounding overwhelming.
My usual problem with fantasy writers is the way most of them do OA info-dumping in the first few chapters which leads to overcrowding of elements that affect the balance of the story. With WOTL, I didn’t encounter this issue and had a smooth transition learning about Ma’i and how it imprisoned our main character which then transitioned to Tuan’s life before and after the revelation.
There’s also a discussion about social hierarchy during that time and how significant it is to have works showing that our country already have a governing body even before the Spaniards arrived.
And who wouldn’t love reading references that are relatable? This book is Philippines wrapped in a book form and transported centuries ago. There’s too many to mention but you’ll definitely notice those once you read this.
Fantasy, social commentary about power, discussion about family and friendship, Filipino myth and lore - there are so many great things that were included in this book. No wonder why it won Scholastic’s Asian Book Awards.
My only issue is that it is a bit short for my liking. WOTL concluded at around 215 pages but that’s solvable since book 2 (Orphan Price) is already out and I’m excited for what’s more to come to Tuan and his friends.
RATING: 4stars
May 1, 2025
This book is refreshing in the sense that it takes me back to the pre colonial Philippine setting, where I encounter familiar words such as aliping namamahay, aliping sagigilid, datu, maginoo, maharlika, timawa, anito, diwata, musang, sigbin, tikbalang, batibot, kapre, and mangbabarang. As someone who has a bias for these genres, it is definitely exhilarating! Iba pa rin talaga kapag sariling atin ang binabasa!
The story focuses on Tuan, a young mambabarang apprentice described as thin, frail, and ugly, who only wants to help his mother and sister, be accepted and acknowledged by others, and have friends, but because of his physical appearance, he convinces himself that he wants to be a mambabarang because he is friendless and that being a powerful monster is better than being nobody. After meeting his friends and knowing the nature of mambabarang, he realized that he no longer felt the need to be a mambabarang, but because of customs of society, the caste system, most specially instances when survival depended on it, he chose to stay in his apprenticeship
A different aspect of the book that I really enjoy is how it depicts the mambabarang in old age. In this rendition, they exist under the grace of Datu, who holds the power to destroy their traditions at any time, and uses them to destroy other kingdoms’ crops, spy on them, and murder their foes while their Datu is sleeping. This is very different from the mambabarang I grew up on. And of course, the unique friendship among the half-kapre, batibot, and mambabarang. How friendship can save someone, change the course of their action, change their beliefs, and challenge the reader to see to what extent you can do for your friends.
The exchanges of conversation among idealistically yet realistically young friends and the caste system really get me, more than the local mythologies I grew up hearing. It’s every inch of possibility to be free, and just one sprinkle of the societal norms can kill their aspirations.
The story focuses on Tuan, a young mambabarang apprentice described as thin, frail, and ugly, who only wants to help his mother and sister, be accepted and acknowledged by others, and have friends, but because of his physical appearance, he convinces himself that he wants to be a mambabarang because he is friendless and that being a powerful monster is better than being nobody. After meeting his friends and knowing the nature of mambabarang, he realized that he no longer felt the need to be a mambabarang, but because of customs of society, the caste system, most specially instances when survival depended on it, he chose to stay in his apprenticeship
A different aspect of the book that I really enjoy is how it depicts the mambabarang in old age. In this rendition, they exist under the grace of Datu, who holds the power to destroy their traditions at any time, and uses them to destroy other kingdoms’ crops, spy on them, and murder their foes while their Datu is sleeping. This is very different from the mambabarang I grew up on. And of course, the unique friendship among the half-kapre, batibot, and mambabarang. How friendship can save someone, change the course of their action, change their beliefs, and challenge the reader to see to what extent you can do for your friends.
The exchanges of conversation among idealistically yet realistically young friends and the caste system really get me, more than the local mythologies I grew up hearing. It’s every inch of possibility to be free, and just one sprinkle of the societal norms can kill their aspirations.
This entire review has been hidden because of spoilers.
August 7, 2023
actual rating: 3.5/5
the “wing of the locust” was as magical and colorful as its book cover. as someone who doesn’t read much fantasy, i’d say that this book was easy to get into. i read it in just two nights, and it’s just an enjoyable ya story.
part of the reason it was consumable for me was its rich and familiar Filipino culture. “wing of the locust” was set in a pre-colonial Philippines where “datu” leads; however, there was still social hierarchy—from being a maharlika going down to being an alipin.
the story followed tuan, an alipin. he felt like he was different. he thought he was frail, not muscular like the warriors in their town, and he convinced himself that he just didn’t belong, not until the herd of locusts attacked their place and bit him. he was delivered to apo mauban, their leader, and became an apprentice under muhen, a mambabarang. tuan was taught to control locusts, summon fleas, and even talk to these insects.
along the way, the perspective shifts to what was going on in Kabuyaw. apparently, there was a kidnapping going on; children were missing, and tuan had suspicion that his master, muhen, was all behind these missing people, and it’s up to tuan to find the truth.
it was a short fantasy read, and i was mesmerized by the descriptions of the characters, especially banig-banig and liksi, and was completely surprised that the author didn’t hold back from describing vile and gruesome imagery considering this is still in the ya category.
however, because it was too short, it feels like it’s just world-building with nothing grounded or showing signs of a struggle happening—nothing gripping conflicts yet. despite these nitpicks of mine, they don’t dampen my excitement about reading its second book.
the “wing of the locust” was as magical and colorful as its book cover. as someone who doesn’t read much fantasy, i’d say that this book was easy to get into. i read it in just two nights, and it’s just an enjoyable ya story.
part of the reason it was consumable for me was its rich and familiar Filipino culture. “wing of the locust” was set in a pre-colonial Philippines where “datu” leads; however, there was still social hierarchy—from being a maharlika going down to being an alipin.
the story followed tuan, an alipin. he felt like he was different. he thought he was frail, not muscular like the warriors in their town, and he convinced himself that he just didn’t belong, not until the herd of locusts attacked their place and bit him. he was delivered to apo mauban, their leader, and became an apprentice under muhen, a mambabarang. tuan was taught to control locusts, summon fleas, and even talk to these insects.
along the way, the perspective shifts to what was going on in Kabuyaw. apparently, there was a kidnapping going on; children were missing, and tuan had suspicion that his master, muhen, was all behind these missing people, and it’s up to tuan to find the truth.
it was a short fantasy read, and i was mesmerized by the descriptions of the characters, especially banig-banig and liksi, and was completely surprised that the author didn’t hold back from describing vile and gruesome imagery considering this is still in the ya category.
however, because it was too short, it feels like it’s just world-building with nothing grounded or showing signs of a struggle happening—nothing gripping conflicts yet. despite these nitpicks of mine, they don’t dampen my excitement about reading its second book.
August 28, 2022
Wing of the Locust is panandaliang aliw, a fleeting pleasure. It is short, riveting, and unique, but perhaps ultimately forgettable.
In this colorful, richly-detailed book, multi-awarded author Joel Donato Ching Jacob imagines a society where reality and magic coalesce, where Europe never reached our shores, and where Filipino myth coexists with facts of Philippine prehistory.
The story details the adventures of Tuan, an apprentice mambabarang (one who can communicate with and control insects, to some extent), his mysterious master Muhen, and his warrior friends Liksi (a batibot, sharp, cunning, and skilled in tracking and hunting) and Gilas (half-Kapre, towering and powerful, although perhaps not the brightest crayon in the box). Their exploits unfold in the kingdom of Ma'I (Laguna in real life), which is haunted by sigbin (a hulking, hairless dog that eats men), the legendary monsters of nearby Mount Maculot, and a creature that's half-python, half-woman, and scares the living hell even out of the manananggal and other fearsome cryptids.
Although I enjoyed reading this book, I would have wanted a couple interesting subplots, like those of the half-python, half-woman Banig-banig or the whimpering, beseeching sigbin, to be more fleshed out. The book also seems to be conflicted about its conflict, and when I finally learned who/what the real enemy is, the book is at an end, and it's too late for me to really care.
Nonetheless, artists looking for inspiration will benefit from the lush imagery in Wing of the Locust, while those hungry for a book about Philippine mythology and prehistory will also find this book enjoyable.
In this colorful, richly-detailed book, multi-awarded author Joel Donato Ching Jacob imagines a society where reality and magic coalesce, where Europe never reached our shores, and where Filipino myth coexists with facts of Philippine prehistory.
The story details the adventures of Tuan, an apprentice mambabarang (one who can communicate with and control insects, to some extent), his mysterious master Muhen, and his warrior friends Liksi (a batibot, sharp, cunning, and skilled in tracking and hunting) and Gilas (half-Kapre, towering and powerful, although perhaps not the brightest crayon in the box). Their exploits unfold in the kingdom of Ma'I (Laguna in real life), which is haunted by sigbin (a hulking, hairless dog that eats men), the legendary monsters of nearby Mount Maculot, and a creature that's half-python, half-woman, and scares the living hell even out of the manananggal and other fearsome cryptids.
Although I enjoyed reading this book, I would have wanted a couple interesting subplots, like those of the half-python, half-woman Banig-banig or the whimpering, beseeching sigbin, to be more fleshed out. The book also seems to be conflicted about its conflict, and when I finally learned who/what the real enemy is, the book is at an end, and it's too late for me to really care.
Nonetheless, artists looking for inspiration will benefit from the lush imagery in Wing of the Locust, while those hungry for a book about Philippine mythology and prehistory will also find this book enjoyable.
This entire review has been hidden because of spoilers.
November 1, 2023
An amazing Filipino YA novel. It's one I definitely would've wanted to read when I was younger--there's so much depth in its treatment of an alternate history where indigenous pre-colonial society remained undisrupted by colonial forces, showing both beauty in our culture as well as the difficulties raised in the hierarchical society. Tuan’s characterization is one of the novel’s strengths, particularly given how far into the past his setting is. Wing of the Locust presents Tuan as someone who feels like an outcast. His journey is both a rewriting of his self-image through developing his innate mambabarang talent, as well as, the unveiling of the issues in this fixed role that serves a higher authority, no matter the cost.
I found that the novel’s balance between Tuan’s straightforward emotions and his growing personal resolve was amazing, particularly, in conveying the sense of loneliness my novelette protagonist felt without it becoming too repetitive. This requires careful pacing on which paragraphs should be reflective or more concrete. On that note, I feel like I wanted more out of the novel's overarching larger conflict. It felt that the primary conflict was ramped up a bit too late by the end, which left readers with a big cliffhanger. This choice is likely influenced by the novel being part of a trilogy but I wish the novel was able to stand alone in how it built up and lead towards a clearer closure to the problem. Regardless, I am really looking forward to reading the sequel book, Orphan Price, soon, and hopefully the third book when it comes out!
I found that the novel’s balance between Tuan’s straightforward emotions and his growing personal resolve was amazing, particularly, in conveying the sense of loneliness my novelette protagonist felt without it becoming too repetitive. This requires careful pacing on which paragraphs should be reflective or more concrete. On that note, I feel like I wanted more out of the novel's overarching larger conflict. It felt that the primary conflict was ramped up a bit too late by the end, which left readers with a big cliffhanger. This choice is likely influenced by the novel being part of a trilogy but I wish the novel was able to stand alone in how it built up and lead towards a clearer closure to the problem. Regardless, I am really looking forward to reading the sequel book, Orphan Price, soon, and hopefully the third book when it comes out!
August 22, 2025
As the first book in the series, it does a solid job of introducing the world, characters, power systems, and conflicts that will be explored more deeply throughout the trilogy. Tuan’s character development, however, feels most subtle in the first half, which makes the pacing a bit slow at times.
I like that there were lots of irony in the characters, which makes them more human. It isn't as easy as Character A is born with this condition or raised in this scenario; he/she was given a chance to change his/her fate, Character A took the chance, and now he/she lives a better life. There are consequences to power, especially in a world built on hierarchy and order of things. Sometimes, being powerless is the choice we make out of love, because struggling with a company is better than being powerful and alone. Special mention that Muhen, as a mentor, is not the typical old, wise man brimming with compassion for his student. He is also not what I pictured a Mambabarang would look or act like.
I also felt the need to mention that the interactions remind me of the series I watched and books I read as a child. There's a sense of nostalgia in how the characters interact. It's amusing given that I read/watch very few pieces centered around pre-colonial Philippines. Therefore, I can say that the book resonates; it isn't an intimidating read even for those unfamiliar with Philippine mythology.
I like that there were lots of irony in the characters, which makes them more human. It isn't as easy as Character A is born with this condition or raised in this scenario; he/she was given a chance to change his/her fate, Character A took the chance, and now he/she lives a better life. There are consequences to power, especially in a world built on hierarchy and order of things. Sometimes, being powerless is the choice we make out of love, because struggling with a company is better than being powerful and alone. Special mention that Muhen, as a mentor, is not the typical old, wise man brimming with compassion for his student. He is also not what I pictured a Mambabarang would look or act like.
I also felt the need to mention that the interactions remind me of the series I watched and books I read as a child. There's a sense of nostalgia in how the characters interact. It's amusing given that I read/watch very few pieces centered around pre-colonial Philippines. Therefore, I can say that the book resonates; it isn't an intimidating read even for those unfamiliar with Philippine mythology.
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