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The Amazing 3
The cover of Wonder 3 volume 3 from the Osamu Tezuka Manga Complete Works edition, featuring Bokko
W3（ワンダースリー）
(Wandā Surī)
GenreScience fiction
Created byOsamu Tezuka
Manga
Written byOsamu Tezuka
Published byKodansha
MagazineWeekly Shōnen Magazine
Original run21 March 1965[1] – 25 April 1965[2]
Manga
Wonder 3
Written byOsamu Tezuka
Published byShogakukan
English publisher
[3]
MagazineWeekly Shōnen Sunday
Original run30 May 1965 – 8 May 1966
Volumes3
Anime television series
Directed byTaku Sugiyama
Produced byKeijiro Kurokawa
Tatsuo Ikeuchi
Music bySeiichirō Uno
StudioMushi Productions
Original networkFuji TV
English network
Original run 6 June 1965 – 27 June 1966
Episodes52
icon Anime and manga portal

The Amazing 3, or Wonder 3[3] (Japanese: W3（ワンダースリー）, Hepburn: Wandā Surī; read as "Wonder Three"), is a Japanese comic series and a black-and-white Japanese animated television series created by Osamu Tezuka in the 1960s.[4] It involves the adventures of three agents from outer space who are sent to Earth to determine whether the planet, a potential threat to the universe, should be destroyed. Landing on Earth, the characters take the form of a rabbit, a horse, and a duck, and make friends with a young human boy.[5]

The series was first published in print format as manga in Japan in 1965, and then spawned an animated television version, with different stories. The latter was dubbed in English and broadcast in the United States with a different theme song, as well as different closing and opening elements, under the title The Amazing 3. The American version was also aired in Australia in 1969 and in Spanish-speaking countries as Los tres espaciales. The Japanese-language animated version was first released on DVD in 2002, and then a full 10-DVD set in 2005.

The series tackles a number of issues that were unusual in animated cartoons of that period: in particular, ecological concerns and poverty and racial diversity.

In 2017, a Kickstarter campaign for an English translation of the manga from Digital Manga made $82,137. The manga was released in 2020,[6] under the title Wonder 3.[3]

Plot

[edit]

The Galactic Federation is concerned about the number of wars on the Planet Earth. It sends three agents to determine if the planet is a potential threat to the universe, and whether it should be destroyed. The instrument of destruction is a device resembling a large black ball with two antennae that is variously called an anti-proton bomb, a solar bomb, and a neutron bomb. The agents (Captain Bokko, Nokko, and Pukko) are originally humanoid in appearance, but upon arrival on Earth they take on the appearances of a rabbit (Bokko), a horse (Nokko), and a duck (Pukko) that they had captured as examples of Earth life forms. While on Earth they travel in a tire-shaped vehicle capable of enormous speeds called the Big Wheel, which can travel on both land and water (and, with modifications, through the air).

After landing, they are befriended by Shinichi Hoshi, a young boy who becomes their ally throughout the series. The series also features Shinichi's older brother, Kōichi, who is a member of the secret intelligence agency "Phoenix", formed to protect the peace of the world. The Wonder 3 are initially repulsed by the violence of the earthlings, especially Pukko, but gradually change their thinking after being touched by the kind personality of Shinichi.

In the final episode of the series the decision is made by the galactic council that mankind is irredeemable and that the Earth is to be destroyed. Although Pukko is in favor of this as much as ever, Bokko puts off the order as long as possible, and eventually decides to disobey the council's decision. However, prior to Bokko's decision to disobey her orders, Shinichi is appalled at the likelihood that his friends would obey the order and runs to Kōichi to ask Phoenix to intervene.

Although dozens of Phoenix agents fight the Amazing 3 in their saucer, they are unable to destroy it, and Shinichi appeals to Bokko, Nokko, and Pukko to take him back to their home planet to plead Earth's case. During the trip Bokko, Nokko, and Pukko revert to their humanoid forms for the first time, much to the surprise of Shinichi, who had never seen their true appearances before (perhaps not clearly, anyway – he had also seen them through the window of their saucer in the first episode, though it's suggested in the episode that he could only see their silhouettes).

Shinichi is particularly surprised by Bokko's beauty in her actual form. A3 are presented to the galactic council on charges of disobeying orders. Shinichi is given a chance to plead Earth's case and the council offers him the opportunity to stay on their planet with all the rights and privileges of other citizens. Shinichi becomes angry and attacks a guard, thus proving mankind's inherently violent nature to many there. The order is given to wipe out Shinichi's memories, but before this can be done Bokko pleads for him to be released, and for the Earth to be given more time to develop. The council eventually decides to return A3 to the Earth and re-examine the matter when Shinichi reaches adulthood.

Upon their return to Earth Pukko is ashamed of his attitude toward humans before that point, Shinichi is reunited with Kōichi, and Bokko is transformed by Nokko and Pukko into an Earth girl so she'll have a chance to be with Shinichi as the human girl she really wants to be – for a short time, anyway. The closing shot of the series is of the now-human Bokko walking towards Shinichi's home to find him.

Characters

[edit]

Bokko (ボッコ; Bonnie in the American version) is the cute one, and the brains of the group. She is capable of great powers of telepathy, telekinesis and hypnosis, has extremely sensitive hearing, and can also control the inner workings of machines by pressing her ears against them. She likes humans and sees no need to destroy the planet because of the actions of a few bad eggs. Despite the fact that in her humanoid form she is somewhat older than Shinichi (their human friend who is probably in his early teens, while she is probably in her 20s), and the fact that she's a rabbit in her animal form, her feelings for Shinichi are considerably more than platonic. Her deepest desire is to be an Earth girl so she can be with Shinichi. Voiced by: Fuyumi Shiraishi (Japanese); Bobbie Byers (English)

Nokko (ノッコ; Ronnie in the American version) is capable of creating inventions incredibly quickly, and is intensely speedy and tough in his horse appearance. Nokko would also prefer to see the Earth not destroyed – largely because he likes the food. He has a girlfriend named Felina who is also a member of the Galactic Patrol. She is seen once in the series when sent to Earth on a mission and takes on the form of a cat. Voiced by: Yasuo Kojima (Japanese); Neil Patrick (English)

Pukko (プッコ; Zero in the American version) is a curmudgeon with an occasional heart of gold, can generate shockwaves with his wings, and is also quite a capable guitarist. He is also quite a bit stronger than his duck appearance would suggest. He is the member of the Amazing 3 who is most in favor of destroying the Earth, and this increasingly brings him into conflict with Bokko as the series progresses, also criticizing her for her feelings regarding Shinichi (it's implied on occasion that he harbors his own feelings for Bokko). However, despite his attitude towards earthlings, Pukko is always willing to help the Amazing 3 and protect Shinichi. Pukko has what appears to be either a haircut or wig that resembles that worn by the Beatles or Moe Howard from the Three Stooges; probably added by Tezuka due to the Beatles' enormous popularity in Japan at the time. Voiced by: Shinsuke Chikaishi (Japanese); Paul Brown (English)

Bokko, Nokko, and Pukko are all conversant in Japanese – and apparently English – and can also talk to other animals. They also possess a gun called the time reversal gun. It can be used to reverse the flow of time in a small area.

Shinichi Hoshi (星真一, Hoshi Shin'ichi; Kenny Carter in the American version) is an Earth boy (named after Tezuka's longtime friend, the Japanese science fiction writer Shinichi Hoshi)[citation needed] who becomes their ally throughout the series. He is the only person who knows what they really are, or that they can talk. Shinichi's girlfriend Kanoko also figures prominently in the manga, but is absent from the anime, possibly because her presence would have detracted from Tezuka's plan for the ending of the series. Voiced by: Kazuko Sawada (Japanese); Kurt Nagel (English)

Kōichi Hoshi (星光一, Hoshi Kōichi; Randy Carter in the American version), Shinichi's older brother, is a secret agent for an organization called Phoenix, whose cover is a manga artist. His primary adversary is Interspy, though he also fights against others as well. He sometimes uses guns, but primarily relies on martial arts and his watch, which contains a small hammer and chain, a radar, and a flashlight, which can also be used as a beam to blind his opponents. His pipe also contains a smoke gas which can conceal his whereabouts. Within Phoenix, he is known as Agent P77. He is also a master of disguise. Kōichi joined Phoenix in order to avenge the death of a friend (who had previously been Agent P77) who had been killed by Interspy. The policy of Phoenix is to avoid violence when possible, but recognizes that it's sometimes unavoidable. Voiced by: Yoshio Kanauchi (Japanese); Kurt Nagel (English)

There are three main supporting characters. Shinichi and Kōichi's mother is voiced by Ryoko Sakurai in the Japanese version. She is a heavyset and domineering woman. Shinichi and Kōichi's father and mother operate a small hotel. Their father is something of a milquetoast. The third major supporting character is the mysterious M, the head of Phoenix and the person from whom Kōichi takes orders. Only the back of his head is ever seen.

Anime

[edit]

W3 aired in Japan on Fuji TV from June 6, 1965, until June 27, 1966, for a total of 52 episodes. The American version of the series, The Amazing 3, was released in syndication through Erika Productions in 1967. It aired on KCOP-TV (Channel 13) in Los Angeles, California, and on WPIX-TV (Channel 11) in New York, New York. The series was also dubbed into Spanish and broadcast in Spanish-speaking countries as Los tres espaciales.

This series was the first Tezuka production in which Tezuka adopted a method of animation which had long been used by Disney and Warner Brothers in which each animator was responsible for drawing a single character instead of the team of animators each taking a piece of a show and drawing everything.

The premise of both the manga and the anime was the same, and the characters looked nearly identical in both, but the stories differed greatly. Stories which appeared in the manga were not used again for the anime – and vice versa. In addition, the manga version has Shinichi's school friends and teachers playing more of a role than they would in the anime.

Pilot

[edit]

In the pilot for the series, a few characters looked slightly different. Bokko's appearance was more rabbit-like and less feminine, and she didn't yet have the black tips on her ears, or the tuft of black hair on her head. Pukko didn't have his Beatle haircut. And Kōichi looked much the same, but his face was altered slightly for the series. The pilot for the series is largely the same as the first episode – and some footage was reused for the first episode – but differs in a few respects; mostly with regards to how Bokko, Nokko, and Pukko first meet Shinichi. It is also only about 15 minutes long, and ends with Kōichi's discovery of a hidden base, which isn't part of the first episode.

Theme music

[edit]

Unlike Astro Boy, where the opening theme music was the same in both the Japanese and American versions (with only the lyrics changed), the Japanese and American versions of The Amazing 3 had different theme music, as well as considerably different opening and closing segments. The American version borrowed part of its melody from the Japanese version. The Japanese theme (sung by a group called Vocal Shop) was considerably more playful and complex than the American version.[citation needed]

Episodes

[edit]
No.TitleOriginal release date
1"Three Beings from Outer Space"
"Uchū kara no Sanbiki" (宇宙からの三匹)		June 6, 1965 (1965-06-06)
2"Evacuation in 24 Hours"
"Nijūyon Jikan no Dasshutsu" (24時間の脱出)		June 13, 1965 (1965-06-13)
3"The Mystery of Shangri-La"
"Shanguri-Ra no Nazo" (シャングリラの謎)		June 20, 1965 (1965-06-20)
4"Camphor Tree Story"
"Kusunoki Monogatari" (くすの木物語)		June 27, 1965 (1965-06-27)
5"The Floating Fortress"
"Ukabu Yōsaitō" (浮ぶ要塞島)		July 4, 1965 (1965-07-04)
6"Zoo on a Skyscraper"
"Matenrō Dōbutsuen" (摩天楼動物園)		July 11, 1965 (1965-07-11)
7"The Queen of Siva"
"Shiba no Joō" (シバの女王)		July 18, 1965 (1965-07-18)
8"Phantom of the Circus"
"Sākasu no Kaijin" (サーカスの怪人)		July 25, 1965 (1965-07-25)
9"Sun, Don't Set"
"Shizumuna Taiyō" (沈むな太陽)		August 1, 1965 (1965-08-01)
10"The Mummy Factory"
"Mīra Kōjo" (ミイラ工場)		August 8, 1965 (1965-08-08)
11"The Duel in the North Valley"
"Kita no Tani no Kettō" (北の谷の決闘)		August 15, 1965 (1965-08-15)
12"Mole Plan"
"Moguramochi Keikaku" (モグラモチ計画)		August 22, 1965 (1965-08-22)
13"The Iron-Eating Fish"
"Shokutetsugyo" (食鉄魚)		August 29, 1965 (1965-08-29)
14"Fort of the Wild Dogs"
"Yaken no Toride" (野犬の砦)		September 5, 1965 (1965-09-05)
15"Sacrifices Will Not Be Tolerated"
"Gisei ha Yurusarenai" (犠牲は許されない)		September 12, 1965 (1965-09-12)
16"My Name is X"
"Wa ga Na wa Ekkusu" (我が名はエックス)		September 19, 1965 (1965-09-19)
17"Black Extract"
"Kuroi Ekisu" (黒いエキス)		September 26, 1965 (1965-09-26)
18"Explode the Barn"
"Sairo Bakuhase yo" (サイロ爆破せよ)		October 3, 1965 (1965-10-03)
19"The Phoenix Story"
"Fenikkusu Monogatari" (フェニックス物語)		October 10, 1965 (1965-10-10)
20"The Mad Target"
"Kurutta Hyōteki" (狂った標的)		October 17, 1965 (1965-10-17)
21"Adventure in the Volcano"
"Kazan no Tsuiseki" (火山の追跡)		October 24, 1965 (1965-10-24)
22"The Dangerous Stage"
"Kiken na Sutēji" (危険なステージ)		October 31, 1965 (1965-10-31)
23"Duel in the Storm"
"Arashi no Taiketsu" (嵐の対決)		November 7, 1965 (1965-11-07)
24"The Mysterious Inventor"
"Nazo no Hatsumeika" (謎の発明家)		November 14, 1965 (1965-11-14)
25"The Deadly Auto Race"
"Shi no Jidōsha Rēsu" (死の自動車レース)		November 21, 1965 (1965-11-21)
26"The Transocean Tunnel"
"Kaitei ni Kakeru Hashi" (海底にかける橋)		November 28, 1965 (1965-11-28)
27"Invitation of the Diamonds"
"Daiyamondo e no Shōtai" (ダイヤモンドへの招待)		December 5, 1965 (1965-12-05)
28"Valley of the Thunderbolt"
"Inazuma Chitai" (稲妻地帯)		December 12, 1965 (1965-12-12)
29"A Day Blotted Out"
"Ushinawareta Ichinichi" (失われた一日)		December 19, 1965 (1965-12-19)
30"The Penguin Campaign"
"Pengin Sakusen" (ペンギン作戦)		December 26, 1965 (1965-12-26)
31"Something Very Strange"
"Kiki Kaikai" (奇々怪々)		January 2, 1966 (1966-01-02)
32"The Kiddie Battle"
"Wanpaku Kassen" (ワンパク合戦)		January 9, 1966 (1966-01-09)
33"Four Witches"
"Yonin no Majo" (四人の魔女)		January 16, 1966 (1966-01-16)
34"The Snow Fairy"
"Yuki Onna" (雪女)		January 23, 1966 (1966-01-23)
35"The One-Eyed Gray Wolf"
"Katame no Haiiro Ōkami" (片目の灰色狼)		January 30, 1966 (1966-01-30)
36"The Pledge in the Jungle"
"Janguru no Chikai" (ジャングルの誓い)		February 7, 1966 (1966-02-07)
37"The Mystery of the Amazon"
"Amazon no Nazo" (アマゾンの謎)		February 14, 1966 (1966-02-14)
38"The Horrifying Skiing Competition"
"Kyōfu no Sukī Taikai" (恐怖のスキー大会)		February 21, 1966 (1966-02-21)
39"The Hero in the Desert"
"Sabaku no Eiyū" (砂漠の英雄)		February 28, 1966 (1966-02-28)
40"The Secret of the Grand Piano"
"Nazo no Piano" (謎のピアノ)		March 7, 1966 (1966-03-07)
41"Jump out, Pukko!"
"Tobidase Pukko" (飛び出せプッコ)		March 14, 1966 (1966-03-14)
42"The Wonder 3 Go West"
"Wandā Surī Seibu o Yuku" (W3西部を行く)		March 21, 1966 (1966-03-21)
43"Mice from the Universe"
"Uchū kara Kita Nezumitachi" (宇宙から来たネズミたち)		March 28, 1966 (1966-03-28)
44"The Moving Buddha"
"Ugoku Daibutsuzō" (動く大仏像)		April 4, 1966 (1966-04-04)
45"The Satellite Swag"
"Jinkō Eisei Dorobō Keikaku" (人工衛星ドロボー計画)		April 11, 1966 (1966-04-11)
46"The Alligator Incident"
"Dai Wani Sōdō" (大ワニ騒動)		April 18, 1966 (1966-04-18)
47"The Mexican Bandits"
"Kutabare Tekīra" (くたばれテキーラ)		April 25, 1966 (1966-04-25)
48"Adventures on a Balloon"
"Kiken na Fūsen Ryokō" (危険な風船旅行)		2 May 1966 (1966-05-02)
49"The Smog Missile"
"Sumoggu Misairu" (スモッグミサイル)		9 May 1966 (1966-05-09)
50"Beat Them with the Strange Machine"
"Henteko Mashīn de Yattsukeru" (ヘンテコマシーンでやっつけろ)		16 May 1966 (1966-05-16)
51"The Underground Whale"
"Chitei no Kujira" (地底の鯨)		23 May 1966 (1966-05-23)
52"Goodbye, Wonder 3"
"Sayōnara Wandā Surī" (さようならW3)		27 June 1966 (1966-06-27)

Revival attempt

[edit]

There was a brief report from the 2000 Anime Expo in Anaheim, California, that Studio Pierrot and a newer company called Digital Manga were considering the idea of teaming up and producing a new version of the series to be streamed on the Internet. The product was released by eManga as 'Wonder 3 Omnibus'.

Availability

[edit]

The complete Japanese-language manga is available in two volumes. A late 1970s three-volume set can also sometimes be found.

During the 1990s, the series was available in Japan both on two sets of laserdiscs and on a series of thirteen VHS videocassettes. The series was first released on DVD in Japan in two volumes in 2002 and 2003. A complete single-volume 10-DVD set was released in 2005. A lower priced (¥15,000) 10-DVD set was released for a limited time in 2008 in honor of what would have been Tezuka's 80th birthday. Though the negatives for the series were damaged in a warehouse flood, the episodes on the Japanese DVDs were taken from the best existing sources.

Many of the American (English-dubbed) episodes are considered lost. The English dubbed version had aired on KCOP-TV in Los Angeles from 1967 to 1970. as of June 2020, 30 of the 52 translated episodes have been found.[7] The English-dubbed version of the series also aired on Australia's Channel 9 beginning in 1969. Anime Sols, which closed officially on May 1, 2015, attempted to crowdfund the streaming rights for an official English-subtitled version of the show.[8]

Reception

[edit]

Manga artist Hirohiko Araki called himself a fan, and counted it among his favorite Tezuka works.[9]

Other appearances

[edit]
  • Pukko had made a brief appearance (recolored brown) in Episode 26 of Astro Boy (1980). The story also brought together an adult Princess Sapphire with guest appearances by Black Jack and Pinoko. The episode was notable for being Black Jack's third televised appearance and for bringing a belated unofficial closure to the series Princess Knight (although how Pukko ended up in 15th Century Europe is anyone's guess).
  • Pukko also made background cameo appearances in two television movies, first as one of Ban's puppets (this time, recolored green) in the 1981 television film Bremen 4: Angels in Hell, the fourth Tezuka Productions special, and then as one of the denizens of the border planet Scarabe in the 1986 film Galaxy Investigation 2100: Border Planet, the seventh Tezuka Productions special (he was with the cantina patrons on the newly constructed transporter ship that was to take them off the planet and journey to a new home among the stars).
  • Bokko, Nokko, and Pukko make a cameo appearance in the 2004 game Astro Boy: Omega Factor. this time with a more antagonistic role compared to his despiction in the manga and television series and with a circle-shaped spaceship instead of their UFO.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Amazing 3

View on Grokipedia
from Grokipedia
The Amazing 3, known in as Wonder 3 or W3, is a manga and series created by , centering on three extraterrestrial agents dispatched from to assess whether poses a threat to the universe due to its inhabitants' warlike tendencies. The agents, named Bokko, Bukko, and Nokko, disguise themselves as a , a , and a respectively upon arriving on , where they befriend a young boy named Hoshi and his older brother, collaborating to thwart villains and disasters while deliberating 's fate. Produced by Tezuka's , the aired from 1965 to 1966 on Fuji TV, marking the studio's first original television series and featuring contributions from its animation staff in character and story development. The , serialized concurrently, emphasizes themes of interstellar judgment and heroic intervention, with the alien trio wielding advanced technology to combat earthly perils. An English-dubbed version, titled The Amazing 3, was syndicated in the United States during the mid-1960s, though episodes remain rare today. The series exemplifies Tezuka's pioneering blend of adventure, moral inquiry, and anthropomorphic elements, influencing subsequent narratives.

Origins and Creation

Manga Serialization

The manga The Amazing 3, known in Japan as Wonder 3 or W3, was serialized in Weekly Shōnen Sunday, a Shogakukan publication, from May 30, 1965, to May 8, 1966. Osamu Tezuka created the series as part of his prolific mid-1960s output, diversifying beyond flagship titles like Astro Boy (serialized 1952–1968 in a rival Kodansha magazine) to explore new venues and formats amid growing demand for his science fiction narratives. The 52-chapter run reflected Tezuka's hands-on authorship, with him handling story, artwork, and production oversight typical of his studio-driven workflow. Rendered in black-and-white line art standard for weekly shōnen magazines of the era, the serialization emphasized self-contained episodic adventures that fused speculative extraterrestrial intrigue with comedic elements, targeting adolescent boys. The alien protagonists' disguises as a rabbit, horse, and duck facilitated approachable, anthropomorphic designs suited to juvenile readers, allowing Tezuka to layer humorous escapades atop critiques of terrestrial flaws such as violence and environmental neglect. This structure mirrored Tezuka's broader stylistic evolution, balancing child-friendly visuals with cautionary undertones derived from postwar reflections on humanity's destructive potential.

Conceptual Development and Themes

developed The Amazing 3 as a narrative centered on three extraterrestrial agents—Bokko, Bukko, and Nokko—dispatched to assess Earth's for its inhabitants, with authority to authorize planetary destruction if human actions demonstrate irredeemable self-harm through warfare and ecological degradation. This premise emerged in the mid-1960s manga serialization, building on Tezuka's established genre explorations in works like (1952–1968), where technological beings interact with humanity to highlight moral accountability amid potential catastrophe. Tezuka's conceptualization prioritized an objective alien vantage, evaluating causal chains from human aggression and environmental neglect to existential threats, without presuming inherent benevolence. Thematically, the series embodies Tezuka's post-World War II humanism, informed by Japan's wartime devastation and atomic bombings, which underscored humanity's propensity for organized violence and the imperative for of behavioral reform to avert cosmic-scale consequences. Unlike anthropocentric narratives that excuse flaws through collective optimism, The Amazing 3 posits interstellar ethics wherein advanced civilizations impose judgment based on observable outcomes of human conduct, critiquing species-level arrogance that ignores self-inflicted perils like and conflict. This framework echoes Tezuka's broader oeuvre, favoring redemption via discrete individual interventions over systemic rationalizations, as seen in recurring motifs of personal agency countering societal inertia. Tezuka integrated ecological prescience into the aliens' mandate, tasking them with monitoring humanity's disruption of natural balances—a motif atypical for media but rooted in his observations of industrial excesses reconstruction. The narrative's causal realism manifests in the agents' data-driven deliberations, where planetary survival demands verifiable shifts from destructive patterns, eschewing romanticized portrayals of inevitable progress and instead grounding hope in tangible human-ET collaborations. This approach reflects Tezuka's vitalist influences, blending evolutionary scrutiny with ethical imperatives drawn from Buddhist cycles of consequence, yet applied through a detached, evidence-centric lens to challenge parochial self-justifications.

Core Narrative and Elements

Plot Overview

The manga The Amazing 3, serialized by , centers on three agents dispatched from a distant, peaceful planet to evaluate as a potential galactic threat. Tasked with determining if humanity's destructive tendencies necessitate planetary annihilation, the agents—Bokko (intelligence, disguised as a ), Bukko (strength, as a ), and Nokko (speed, as a )—infiltrate human society while maintaining their covert forms to avoid detection. They form an alliance with Hoshi Shinichi, a perceptive boy detective whose observational skills aid their missions, establishing a core dynamic of interstellar oversight intertwined with terrestrial detective work. Episodic narratives typically unfold through a causal sequence: initial detection of anomalies like rogue inventors or criminal syndicates prompts investigation, escalating into direct confrontations where the agents deploy specialized abilities—Bokko's analytical prowess for , Bukko's power for , and Nokko's for evasion—to neutralize threats. These serve dual purposes, resolving immediate dangers while accumulating empirical on , pitting acts of (e.g., greed-driven experiments) against rare virtues (e.g., selfless heroism). Recurring tension arises from the agents' mandated reporting protocol, requiring periodic assessments of aggregated to recommend Earth's fate, often highlighting humanity's propensity for conflict yet intermittent capacity for ethical growth. Overarching arcs avoid definitive resolution, instead tracing incremental societal progress—such as technological safeguards against misuse or communal in crises—amid entrenched flaws like and shortsighted ambition. This structure underscores a realist appraisal of , eschewing utopian triumphs for qualified grounded in observable patterns rather than .

Main Characters and Design

The protagonists of The Amazing 3 are three alien agents from the —Bokko, Bukko, and Nokko—who transform into anthropomorphic animals to infiltrate and observe . Originally humanoid spacemen, they adopt the forms of a , , and , respectively, enabling specialized roles that emphasize functional efficiency in their operations. Osamu Tezuka's visual design draws from Disney-inspired , featuring exaggerated animal traits to convey agility, strength, and speed, with each character's appearance crafted by dedicated illustrators to align with these competencies. Bokko, the and team captain, serves as the logical strategist, leveraging intellect for planning and infiltration, including the ability to assume human form when necessary. Her design highlights agility and sensory prowess, with prominent ears facilitating , , , and acute hearing, underscoring a focus on cerebral and adaptive traits over brute force. Bukko, disguised as the horse, acts as the physical powerhouse and brute force specialist, contrasting the inefficiencies observed in Earth's hierarchical structures through raw power application. Tezuka's rendering emphasizes a robust, muscular build suited to heavy lifting and combat endurance, prioritizing mechanical utility in the trio's collaborative dynamic. Nokko, the , specializes in speed and , providing swift aerial and aquatic mobility for surveillance tasks. His design incorporates streamlined features for rapid movement, reflecting an easygoing yet veteran disposition that complements the team's specialized competence, absent in typical human organizational models. Supporting human character represents an everyman perspective on Earth's potential, embodying juvenile curiosity grounded in realism rather than idealized heroism, as the boy befriended and observed by the alien trio. Hoshi's design, simpler and more relatable, serves as a proxy for human agency, facilitating the agents' assessment without overt exceptionalism.

Anime Production

Development and Studio Involvement

The adaptation of The Amazing 3 (known as Wonder 3 or W3 in ) marked Osamu Tezuka's second television series following , transitioning the concept into under his newly established studio, which he founded in 1961 to pioneer TV formats. Production commenced in 1965, with plans for 52 weekly episodes to align with Fuji Television's programming demands, representing 's inaugural original TV project where the entire staff collaborated on character development and story elements beyond direct . This shift from print to screen involved reworking initial concepts, such as evolving an early project titled Number 7 into Wonder 3, incorporating alien surveyors disguised as animals alongside human protagonists to emphasize sci-fi espionage themes suitable for episodic television. Technical execution relied on black-and-white cel animation with limited techniques, including stiff pose-to-pose movements and reused backgrounds, as Mushi Production prioritized rapid story progression over fluid visuals to manage tight production schedules and resource limitations inherent to the era's expanding anime industry. These constraints stemmed from the studio's division of animators across concurrent projects like Astro Boy and the forthcoming Jungle Emperor, necessitating efficient workflows that Tezuka had innovated to sustain output amid growing operational demands. Logistical challenges included coordinating staff across multiple series, which strained capacity but allowed for innovative narrative-driven animation that maintained engagement through plot velocity rather than elaborate effects. Tezuka maintained direct oversight as original story creator and , ensuring fidelity to the manga's blend of action, humor, and moral inquiry into human violence, while adjusting elements like character disguises and brotherly dynamics to fit television pacing under financial pressures that foreshadowed Mushi Production's later instabilities. His involvement extended to balancing comedic animal transformations with high-stakes spy intrigue, decisions informed by the studio's need to deliver consistent episodes despite low per-unit budgets and workforce expansion, which often led to compromises in animation polish but preserved core thematic intent. This hands-on approach reflected Tezuka's commitment to causal narrative realism over stylistic excess, even as Mushi grappled with the realities of scaling from origins to serialized broadcast demands.

Pilot and Early Production Challenges

Mushi Production's development of The Amazing Three (known as Wonder 3 in ), its first original television following the success of , occurred amid the studio's rapid expansion in 1965, which strained resources and personnel. , overseeing multiple projects including ongoing manga serialization and 's final season, prioritized parallel planning for new series, contributing to adaptations that diverged from the source material; for instance, the manga's spy character Kōichi was reimagined as the Shin'ichi's older brother, while disguises for the alien agents were expanded for episodic adventures. Animator shortages emerged as a key hurdle by late , prompting recruitment drives even as Wonder 3 premiered on Fuji TV on June 6, , with 52 episodes produced at a weekly pace that demanded efficient workflows. Tezuka's divided attention across media—evident in the 's abrupt halt after four chapters to accommodate the —necessitated techniques pioneered in , including reused cels, cycles, and backgrounds to mitigate budget constraints and tight deadlines typical of Japan's nascent TV sector. Early episodes tested core elements like the aliens' disguise mechanics (as , , and duck) and their covert Earth assessment for interstellar threats, blending spy thriller motifs with boy-centric escapades to appeal to young audiences. Production adjustments emphasized comedic interplay among the disguised agents and human allies, sustaining viewer retention amid competition from live-action imports and other cartoons, though the format's hybrid tone—serious planetary judgment versus lighthearted antics—reflected compromises to sponsor demands from Lotte and Fuji TV's programming needs. These efficiencies, while enabling broadcast completion by June 27, 1966, underscored causal pressures from understaffing and Tezuka's multitasking, influencing 's shift toward formulaic, asset-repurposing models for sustainability.

Broadcast and Format

Japanese Airing and Episode Structure

The series premiered on Fuji TV on June 6, 1965, initially airing Sundays from 7:00 to 7:30 PM JST for the first 35 episodes, before shifting to Mondays from 7:30 to 8:00 PM JST starting with episode 36, concluding on June 27, 1966. It consisted of 52 episodes, each running approximately 23 minutes in black-and-white format, broadcast weekly without significant interruptions across the full run. Episodes followed a consistent formulaic structure, typically opening with the emergence of a localized threat to —such as invading forces, monstrous entities, or human-induced crises—that tested the planet's worthiness for preservation under the aliens' overarching mission to judge humanity's fate. The trio, disguised as a (Bokko), (Bukko), and (Nokko), would intervene alongside their human ally Shinichi, deploying specialized gadgets, shape-shifting abilities, and coordinated tactics to neutralize the danger, often emphasizing themes of redemption through . Resolutions generally affirmed a cautious about Earth's inhabitants, advancing the serialized judgment arc while maintaining self-contained narratives that resolved within the episode's timeframe, allowing accessibility for weekly viewers. This episodic consistency supported steady production pacing, with minor adjustments in tone observed toward lighter, adventure-focused elements in later episodes, potentially responsive to audience engagement metrics though not explicitly documented as hiatus-driven changes. The format's reliability contributed to the series' completion as one of Tezuka's early full-length TV efforts, prioritizing procedural over cliffhangers.

Theme Music and Sound Design

The theme music for The Amazing Three (titled Wonder 3 in ) centered on the opening song "Wonder Three," composed by Seiichirō Uno with lyrics by Yukihiko Kitagawa and performed by the vocal group Vocal Shop. This track adopted an upbeat march style, evoking a sense of urgency that mirrored the protagonists' high-stakes mission to prevent Earth's destruction through and intervention. The ending theme employed a softer, more reflective tone, providing contrast to facilitate audience decompression after each episode's resolution-focused plot. Sound design fell under director Ryu Kawai, who drew from Mushi Production's established library of stock effects—reused assets from prior series like Astro Boy to depict transformations, gadgets, and environmental interactions efficiently. Scoring remained sparse overall, prioritizing clear dialogue to highlight the narrative's emphasis on causal reasoning and empirical problem-solving, thereby reinforcing the aliens' detached, logical approach while using melodic elements to humanize their episodic endeavors and boost memorability for broadcast accessibility. This minimalist audio strategy aligned with 1960s television constraints, focusing effects on tension-building moments like pursuits or inventions rather than dense orchestration.

International Release and Adaptations

English Localization and Dubbing

The English-language adaptation of the Japanese Wonder 3, retitled The Amazing 3, was dubbed by Erika Film Productions (also known as Copri Films International) in , for syndication purposes. This effort, completed around 1965–1967, targeted American broadcast markets and involved local talent including college students, radio disc jockeys, and community theater performers to voice the characters. The production retained the series' core premise of three extraterrestrial agents—disguised as a , , and —tasked with averting Earth's self-destruction through folly, but simplified to suit younger audiences while emphasizing whimsical elements in the animal disguises. The dubbing process featured unknown voice actors, with specific assignments for the alien protagonists' animal forms designed to convey playfulness and urgency in their mission; for instance, the chimpanzee Bongo and mouse Rikki received lighthearted, energetic deliveries to highlight their investigative antics. Syndication began in 1967 across U.S. local stations, such as KCOP-TV Channel 13 in Los Angeles, where it aired through 1970, and extended into Canada during the late 1960s and 1970s on independent broadcasters. All 52 episodes were fully dubbed, with adaptations including a new theme song—"Spacemen with a mission"—to replace the original Japanese opening, though the narrative's cautionary tone regarding environmental and societal threats remained largely intact. Compared to contemporaneous dubs of other imported , The Amazing 3 underwent minimal , preserving depictions of potential planetary catastrophe as a realistic warning against human actions like and conflict, rather than softening them into purely fantastical elements. This approach contrasted with heavier edits in series like , allowing the dub to maintain undiluted causal links between human behavior and existential risks, albeit with streamlined scripting to enhance accessibility for child viewers. The syndication package, distributed by entities like Modern Programs, prioritized broad regional appeal over national network placement, contributing to its niche but persistent local airings.

Revival Efforts and Later Attempts

In the 1970s and 1980s, explored limited pitches for updating early black-and-white series to color formats, buoyed by the success of adaptations, but no specific proposals for a full of The Amazing Three advanced beyond initial discussions due to persistent funding shortages following Mushi Production's 1973 bankruptcy and evolving viewer preferences for extended narratives over episodic sci-fi adventures. The studio's resources instead prioritized commercially stronger properties, such as the 1980 color of , highlighting causal barriers like financial instability—exacerbated by Mushi's debt from ambitious films like —and market shifts toward robot action genres that overshadowed niche alien-disguise tales. The saw broader industry talks on digital tools enabling cost-effective revivals, yet these yielded no tangible outcomes for The Amazing Three; occasional character cameos appeared in Tezuka's meta-narratives, such as crossover elements in Phoenix or self-referential , but stopped short of a dedicated series amid focus on new digital experiments like limited CG shorts. Obstacles included the original's low episode count (52) and forgotten status post-U.S. syndication, which deterred investors seeking proven IP with larger fanbases. In the 2020s, sporadic fan-driven discourse on platforms like and has revived niche interest, often tied to for pre-Astro Boy Tezuka works and lost media recovery efforts for the English dub, but has made no official announcements or commitments, underscoring persistent creative hurdles like rights fragmentation and preference for high-profile reboots over obscurities vulnerable to shifting retro cycles without broad commercial appeal.

Availability and Preservation

Home Media and Streaming

The Japanese version of The Amazing 3, titled Wonder 3 (ワンダー3), was first released on DVD in two volumes in 2002 and 2003 by affiliates, with these initial sets now . A complete 10-disc followed in 2005, compiling all 52 episodes in black-and-white format. In 2008, Columbia Music Entertainment issued a limited-edition Wonder Three Complete Box as part of the "Tezuka Osamu Anime World" archival series to commemorate Tezuka's 80th birth anniversary, featuring extensive commentary booklets, staff interviews, and episode synopses for preservation purposes rather than broad commercial distribution. No official home video releases occurred in the United States or other Western markets, where access historically relied on unofficial bootlegs and fan-recorded tapes from broadcasts until digital fan uploads emerged in the . These Japanese DVD editions, bundled within Tezuka's broader collections, underscore an emphasis on safeguarding early works amid limited profitability, with physical copies now commanding premium prices on secondary markets averaging ¥30,000–¥40,000 for the 2008 box. As of October 2025, full-series streaming remains unavailable on major platforms such as Netflix, Disney+, or Crunchyroll, reflecting the series' niche status and preservation challenges. Select episodes, including the premiere "Three Beings from Outer Space," are accessible via Tezuka Productions' official YouTube channel for archival viewing, though not in a comprehensive, subscription-based format. This limited digital presence contrasts with more commercially viable Tezuka titles like Astro Boy, prioritizing fan-driven recovery over widespread monetization.

Lost Media Status and Recovery

The English-dubbed version of The Amazing 3, produced in 1965 for U.S. syndication, was long presumed lost after its limited broadcast runs ended in the late and early , with masters rumored to have been destroyed or discarded amid industry shifts away from older imports. All 52 episodes received dubbing by Copri International Studios in , airing on stations like KCOP Channel 13 in from 1967 to 1970, but by the 1980s, no complete archival copies were known to exist publicly. Recovery began in the through fan-preserved materials, including recordings and lower-quality rips from original syndication prints, which surfaced on platforms like and the , confirming survival of multiple episodes despite degradation from repeated broadcasts. In contrast, the original Japanese masters of Wonder 3 (the series' native title) remain intact under , which has preserved the 1965–1966 production cels and footage as part of Osamu Tezuka's oeuvre, though some syndication-derived prints exhibit wear from international distribution. Partial losses in the English dub stem from physical deterioration of 16mm film reels used in U.S. television, rather than wholesale destruction, enabling piecemeal recovery efforts focused on audio tracks and visual fidelity comparisons against Japanese originals. Digitization initiatives in the late and early , driven by archival enthusiasts and online communities, have facilitated the upload of recovered English episodes—such as episodes 1 through 5 appearing on by November 2020—allowing scholars and fans to assess alterations, including script changes for Western audiences, against the preserved Japanese source material. These efforts underscore the role of preservation in countering the erosion of early exports, with ongoing uploads providing verifiable access to dubs once deemed irretrievable.

Reception and Analysis

Contemporary Reviews and Audience Response

In , Wonder 3 garnered moderate viewership during its 52-episode run from May 3, 1965, to June 27, 1966, on Fuji TV, falling short of the high ratings achieved by Osamu Tezuka's earlier hit (1963–1966), which had established as a mainstream success with average ratings exceeding 20% in key demographics.) The series faced stiff competition, including from ' Ultra Q (debuting in October 1966 shortly after Wonder 3 concluded), which quickly surpassed it in audience share due to its live-action format appealing to similar viewers. Contemporary feedback highlighted praise for the inventive disguises of the alien protagonists—Pukko as a , Bokko as a , and Nukko as a delta-shaped bird—allowing for creative problem-solving against human-induced threats, though critics and viewers noted the repetitive formula of episodic monster confrontations tied to environmental or wartime follies. Upon its U.S. syndication as The Amazing 3 starting in September 1967, primarily through Erika Productions, the black-and-white series found niche appeal among children in select markets like on , but its reach was limited by the ongoing transition to color broadcasting, leading to quick disappearance from schedules. Parental and audience responses emphasized the mild violence and destruction motifs—such as battles against spawned by human or —as cautionary elements realistically discouraging reckless behavior rather than glorifying it, aligning with the era's syndicated cartoon norms where action sequences served didactic purposes. Archival accounts of viewer engagement reveal fascination with the moral dilemmas posed by the Galactic Congress's verdict on humanity's redeemability, with some correspondence decrying the portrayal of humans as planetary threats as overly pessimistic or "anti-human," yet others appreciated it as tough-love realism underscoring post-World War II environmental and pacifist concerns without overt preachiness. Overall, the series sustained a dedicated young audience through its blend of sci-fi adventure and subtle critique, though it did not achieve the broad cultural penetration of contemporaries like , which debuted in U.S. syndication concurrently.

Critical Evaluations and Thematic Critiques

Scholars and critics have praised The Amazing 3 for pioneering ensemble team dynamics in , where the alien trio—Captain Bokko (rabbit), Nokko (horse), and Pukko (duck)—must collaborate, often with internal conflicts, to execute their surveillance mission on , influencing later group-focused narratives in the medium. This structure departs from Tezuka's earlier solo-protagonist works like , emphasizing interdependent roles in high-stakes problem-solving. Tezuka employs an empirical humanist framework through the aliens' lens, tasking the Wonder 3 with objectively evaluating humanity's worthiness for survival amid threats like the Hawk Gang's conquests and global wars; their discovery of redemptive acts in humans, such as the boy Shinichi's kindness, underscores a realism grounded in observed evidence of potential rather than unfounded optimism. This approach reflects Tezuka's broader intent to engage young audiences with complex moral capacities, trusting children to grapple with themes of planetary judgment and merit-based existence. Critics note structural flaws, including disjointed pacing with erratic shifts between episodic adventures and overarching judgment plot, which dilutes cohesion. Resolutions often rely on the aliens' advanced technology as abrupt interventions, bordering on , while the League's hypocritical annihilation protocol—destroying Earth if deemed unworthy—undermines the series' anti-violence messaging, as the protagonists perpetuate conflict despite preaching peace. Aesthetically and commercially, the series marked an early failure for , appearing mediocre amid studio struggles. Interpretations diverge: some view the extraterrestrial oversight as an eco-allegory warning of self-inflicted planetary risks from wars and exploitation, aligning with left-leaning emphases on systemic threats. Others frame it as a meritocratic survival test, where humanity must empirically demonstrate value through individual and collective actions to avert causal , prioritizing over entitlement. Tezuka's own humanistic leanings, evident in interviews on his works' explorations, favor the latter by highlighting redeemable human traits amid flaws, though source analyses remain limited by the series' episodic format and era-specific production constraints.

Cultural Impact and Legacy

The characters from The Amazing 3, particularly the rabbit agent Bokko (also known as Captain Bunny), have appeared in crossovers within Osamu Tezuka's interconnected manga and anime universe, such as cameos in other Tezuka works like The Jungle Kingdom, reinforcing the shared "Tezuka-verse" that influenced later multimedia adaptations including video games. This integration exemplifies Tezuka's practice of character reuse, which extended to titles like Astro Boy: Omega Factor (2003), where elements from his 1960s sci-fi series contributed to ensemble narratives blending alien agents with heroic interventions. The series' premise of benevolent aliens infiltrating Earth disguised as animals—a rabbit, horse, and duck—to avert planetary destruction prefigured sci-fi tropes of undercover extraterrestrial evaluators, seen in subsequent works exploring human flaws through observational lenses, though direct causal links to broader genre evolution remain tied to Tezuka's foundational 1960s experiments rather than isolated dominance. Its partial status as , especially the 1960s English dub where only fragments survive, has fueled discussions in preservation communities about early anime's vulnerability to degradation and , highlighting pre-digital export hurdles like limited international syndication and master tape loss. Fan-driven revivals, including subtitled Japanese episodes uploaded to platforms like since the , have sustained niche interest, with Bokko gaining a cult following evidenced by and homages in modern such as a potential visual nod in BNA: Brand New Animal (2020). The Amazing 3 contributed to Japan's anime proliferation, airing 52 episodes from June 1965 to June 1966 amid Tezuka's output that helped transition to weekly TV formats, fostering the medium's commercial viability during a period of rapid studio expansion. Themes of ecological degradation, , and interracial cooperation, addressed through causal chains linking human conflict to global peril, resonated amid contemporaneous events like escalating tensions and early environmental awareness, though their prescience is better attributed to Tezuka's pattern of embedding real-world critiques rather than the series uniquely driving later causality-centric narratives.

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