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早在两个月前关于春季新番的消息陆续传出时，很多人关注的“第一梯队”当中都少不了《翠星的伽鲁冈缇亚》——这部原创动画能够在“遍地热门”的四月占据一席之位，很大程度上是由于其剧本出自著名脚本作家虚渊玄之手。这位自称“爱的战士”的鬼才用黑暗沉重的故事将我们虐得死去活来，人气却逐年走高，到底其魅力何在？一起来听听下面这位粉丝对老虚的看法——
For many people， Puella Magi Madoka Magica might be their top anime[日本动画] show of 2011. For others， it would be Fate/Zero. What do these two shows have in common？ Well， aside from[除……以外] both having a melodic[旋律的] musical[悦耳的] score[配乐] from Yuji Kajura注1， they are both the babies of Gen Urobuchi. In both cases， I think what we see is something that you don’t see every day in the world of anime. And this something is what Urobuchi’s greatest strength within the context actually is.
What is that？
It’s simply sincere storytelling.
I used to write about what I felt was the greatest weakness in modern anime： Pavlovian注2 entertainment—that is， the entertainment operates on the level of classical conditioning[（心）条件作用]. Several years ago， there was an overabundance[过量] of Pavlovian entertainment， making it very hard to unearth[挖掘] shows that were aiming to be compelling[引人注目的] stories.
And then， Madoka arrived.
It was just the perfect time for me， as I was growing increasingly tried with the tropes[（语）修辞，比喻] of anime at the time， and thinking that maybe they needed a little bit of deconstructing[解构，拆析].
But what Urobuchi did was more than that. He has helped to breathe new life into an entertainment medium[媒介，方法] that too often takes the easy way out， and I think that’s why he’s gained a passionate cult[崇拜者] following of sorts.
Madoka Magica has its attractive magical girl aesthetics[美学，美感]， some popular anime archetypes[原型]， and moments of melodrama[情节剧]. But these all serve to merely frame the work， rather than to be the work itself. Instead of an otaku[御宅族] anime that few non-otakus could like， we get an otaku frame around a story that almost anybody could appreciate.
From Madoka Magica to Gargantia on the Verdurous Planet， Urobuchi’s story remains a key focus from episode[一段情节] to episode. Everything feels interconnected， everything feels whole. A series identity is allowed to take hold and flourish[繁荣，兴旺]， drawing in viewers[电视观众] looking for something deeper.
Why is Urobuchi so popular these days？
Because he marks the comeback[恢复] of serious， sincere storytelling.
Perhaps Gen Urobuchi is a healing writer， after all.
对很多人来说，《魔法少女小圆》也许是他们心目当中的2011年度最佳动画；而对其他人来说，那一年最棒的作品则是《Fate/Zero》。这两部动画有什么共同点呢？除了它们旋律优美的原声大碟均由梶浦由记一手打造之外，这两者其实都是虚渊玄的作品。在这两部动画当中，我们看到的是一些你在动画界不会经常看到的东西，而这正是虚渊在动画范畴内最大的优势。
那是什么呢？
其实就是诚心诚意地讲故事。
我曾写过（一篇文章），认为当今动画最大的缺点就是“巴甫洛夫式娱乐”——也就是一种在典型的条件反射作用层面运作的娱乐方式。几年前，（动画界的）“巴甫洛夫式娱乐”过剩，要发掘出旨在创作动人故事的作品很不容易。
就在那时，小圆出现了。
对我来说，小圆来得正是时候，因为我对当时的动画表现手法日渐厌倦，正想着这些作品也许需要解构一下了。
但虚渊所做的并不仅仅是解构。他为某一经常投机取巧的娱乐手段注入了新的活力——我想，这正是他受到各种各样的热烈追捧的原因。
《魔法少女小圆》有其极具魅力的魔法少女美学、若干流行的动画原型，以及各种让人吃惊的片段。但所有的这些都只是作品的外在，而并非作品本身（的内涵）。我们看到的并不是一部非宅人士喜欢不起来的御宅动画，而是一个套着宅外壳、但几乎所有人都能领悟的故事。
从《魔法少女小圆》到《翠星的伽鲁冈缇亚》，虚渊的故事一直是贯穿每一集动画的关键核心。所有的东西都是相互关联的，所有的事情都是一个整体。动画的定位得以扎根并发展，吸引着观众去寻找更深层次的内涵。
为什么虚渊现在会如此受欢迎呢？
因为他标志着严肃真诚叙事的回归。
也许，归根结底，虚渊玄还是治愈系作家吧。
For many people， Puella Magi Madoka Magica might be their top anime[日本动画] show of 2011. For others， it would be Fate/Zero. What do these two shows have in common？ Well， aside from[除……以外] both having a melodic[旋律的] musical[悦耳的] score[配乐] from Yuji Kajura注1， they are both the babies of Gen Urobuchi. In both cases， I think what we see is something that you don’t see every day in the world of anime. And this something is what Urobuchi’s greatest strength within the context actually is.
What is that？
It’s simply sincere storytelling.
I used to write about what I felt was the greatest weakness in modern anime： Pavlovian注2 entertainment—that is， the entertainment operates on the level of classical conditioning[（心）条件作用]. Several years ago， there was an overabundance[过量] of Pavlovian entertainment， making it very hard to unearth[挖掘] shows that were aiming to be compelling[引人注目的] stories.
And then， Madoka arrived.
It was just the perfect time for me， as I was growing increasingly tried with the tropes[（语）修辞，比喻] of anime at the time， and thinking that maybe they needed a little bit of deconstructing[解构，拆析].
But what Urobuchi did was more than that. He has helped to breathe new life into an entertainment medium[媒介，方法] that too often takes the easy way out， and I think that’s why he’s gained a passionate cult[崇拜者] following of sorts.
Madoka Magica has its attractive magical girl aesthetics[美学，美感]， some popular anime archetypes[原型]， and moments of melodrama[情节剧]. But these all serve to merely frame the work， rather than to be the work itself. Instead of an otaku[御宅族] anime that few non-otakus could like， we get an otaku frame around a story that almost anybody could appreciate.
From Madoka Magica to Gargantia on the Verdurous Planet， Urobuchi’s story remains a key focus from episode[一段情节] to episode. Everything feels interconnected， everything feels whole. A series identity is allowed to take hold and flourish[繁荣，兴旺]， drawing in viewers[电视观众] looking for something deeper.
Why is Urobuchi so popular these days？
Because he marks the comeback[恢复] of serious， sincere storytelling.
Perhaps Gen Urobuchi is a healing writer， after all.
对很多人来说，《魔法少女小圆》也许是他们心目当中的2011年度最佳动画；而对其他人来说，那一年最棒的作品则是《Fate/Zero》。这两部动画有什么共同点呢？除了它们旋律优美的原声大碟均由梶浦由记一手打造之外，这两者其实都是虚渊玄的作品。在这两部动画当中，我们看到的是一些你在动画界不会经常看到的东西，而这正是虚渊在动画范畴内最大的优势。
那是什么呢？
其实就是诚心诚意地讲故事。
我曾写过（一篇文章），认为当今动画最大的缺点就是“巴甫洛夫式娱乐”——也就是一种在典型的条件反射作用层面运作的娱乐方式。几年前，（动画界的）“巴甫洛夫式娱乐”过剩，要发掘出旨在创作动人故事的作品很不容易。
就在那时，小圆出现了。
对我来说，小圆来得正是时候，因为我对当时的动画表现手法日渐厌倦，正想着这些作品也许需要解构一下了。
但虚渊所做的并不仅仅是解构。他为某一经常投机取巧的娱乐手段注入了新的活力——我想，这正是他受到各种各样的热烈追捧的原因。
《魔法少女小圆》有其极具魅力的魔法少女美学、若干流行的动画原型，以及各种让人吃惊的片段。但所有的这些都只是作品的外在，而并非作品本身（的内涵）。我们看到的并不是一部非宅人士喜欢不起来的御宅动画，而是一个套着宅外壳、但几乎所有人都能领悟的故事。
从《魔法少女小圆》到《翠星的伽鲁冈缇亚》，虚渊的故事一直是贯穿每一集动画的关键核心。所有的东西都是相互关联的，所有的事情都是一个整体。动画的定位得以扎根并发展，吸引着观众去寻找更深层次的内涵。
为什么虚渊现在会如此受欢迎呢？
因为他标志着严肃真诚叙事的回归。
也许，归根结底，虚渊玄还是治愈系作家吧。