源代码朝鲜比中俄说得更直白，日本有案底在身，敢轻举妄动就是死路一条,兵器评论,原创 朝鲜比中俄说得更直白，日本有案底在身，敢轻举妄动就是死路一条_我的网站
A | 中俄话音刚落，朝鲜就对日本发出“毁灭性”警告。
B |  I first watched the movie All Wishes Come True on a sweltering evening in Beijing, the kind of night when the city's heat presses against the windows and the air-conditioning struggles. The comedy, widely considered one of the best-reviewed Chinese animated features of the 2026 summer season, unspooled its turquoise landscapes and bureaucratic immortals with a lightness that belied the depth of its source material. By the time the credits rolled, I found myself less interested in the characters' KPI struggles than in the place they called home: Penglai - the northern tip of the Shandong Peninsula in East China, where myth and shoreline have shared the same address for more than 1,000 years. By one Saturday morning, I was on a high-speed train heading east from Beijing, the film still playing in my head. "Don't ask where they came from," the movie's quiet refrain goes, "only where they are going; don't ask about gains or losses, only about right or wrong." It felt like decent travel advice.  Fairyland of the mortal world Stepping off the train, Penglai announced itself gradually. The air cooled. The sea appeared, first with shimmering light, then as a broad, restless presence. The average temperature here sits at around 12.5 degrees Celsius for the whole year; winters refuse to freeze the spirit, summers decline to scorch it. Locals call the place "the fairyland of the mortal world," and for once the slogan does not feel like municipal overreach. I began, as most pilgrims do, at Penglai Pavilion. The Song-dynasty (960-1279) complex rises from a cliff as if the rock itself had decided to become architecture. It is the only seaside member of China's four great ancient towers, and the only one that smells of salt. From its highest platform the Yellow and Bohai Seas meet in a visible seam of color, two blues arguing politely about territory. Legend insists the Eight Immortals gathered here, drank too well, and then crossed the water by their various supernatural means. Standing in the same spot, I could almost hear the clink of chalices. The pavilion is not a museum of relics so much as a working stage for memory. The hall of Lü Dongbin, one of the Eight Immortals, still receives incense. Stone tablets carved with poems by generations of visitors lean against one another like old friends. In the afternoons, costumed performers - local "NPCs" of the Eight Immortals - wander the stone paths, joking with tourists, offering blessings, occasionally breaking into song. Children chase a character carrying a flower basket; adults pose solemnly beside Tieguai Li. The boundary between screen and shore softens. One of the locals, who grew up within sight of the pavilion, told me this was the season for haishi - the mirages that have made Penglai famous for centuries. Sea mirages, sea mists, and horizontal fog form the three maritime wonders here, appearing without schedule and vanishing just as quickly. I waited an hour and alas saw only ordinary clouds. Still, the sense of possibility felt sufficiently satisfying. Across the water lies the Eight Immortals Cross the Sea scenic area, laid out in the shape of a giant gourd - Tieguai Li's preferred vessel. From the highest pavilion the gardens, pavilions, and sculpted figures form a coherent narrative of ascent and departure. Wandering in the area, you will see that the water is calm, the sky the exact shade of celadon used by the animators. It was easy to understand why story-tellers kept returning to this stretch of coast: the landscape itself seems to invite transformation. Penglai is not only myth. The old water city, China's best-preserved ancient naval base, still holds the outlines of docks where warships once waited. Nearby stand the memorials to Qi Jiguang, the Ming Dynasty (1368-1644) general who defended these shores against Japanese pirates. The same peninsula that dreams of immortals also remembers the hard work of keeping the sea lanes open. The film's protagonists, for all their comic incompetence, share a stubborn sense of duty toward the human world. Standing among the fortifications, I felt the two strains of the place - celestial and martial - settle into balance.  Banquet from sea Food here is another kind of story-telling. At a small restaurant in the city I ordered Penglai noodles, thin and springy, swimming in a broth that tasted of the morning's catch. Later came an "Eight Immortals banquet," each dish inspired by one of the legendary figures: a crisp fish for the crossing, a fragrant wine for the celebration afterward. The wines themselves deserve attention. Penglai sits on the same latitude as some of the world's great vineyards. In the late afternoon light, the grapes looked almost black, and the air smelled of sea and oak. A glass of local wine, tasted on a terrace overlooking the water, carried a mineral edge that felt like the peninsula distilled. Evenings belong to the streets. On Xianjie or Immortal Street, lights come on early. Vendors sell souvenirs of the Eight Immortals' magic instruments, small wooden crutches, fans, flower baskets. Musicians play, children run between stalls, and the smell of grilled seafood mixes with the cooler night air. It is ordinary Chinese night-market life, elevated by the knowledge that the stories being sold have been circulating for a millennium. I spent my last morning climbing Laobeishan or Tianheng Mountain to the precise point where the two seas divide. The water on one side was a deeper yellow, on the other a clearer blue. Tourists took photographs, capturing the magical sight of the water's two different colors. Penglai is much more than what is portrayed in the movie. The cliffs, the pavilion, the mirages, and the slow accumulation of legend were here long before any animator arrived. Yet the film has done what good popular art sometimes does: it has given a new generation a reason to look again. Walking back down the mountain that morning, I kept thinking of the line about not asking about origins, only about destinations. Penglai's destiny, it seems, is simply to remain itself - half myth, half working harbor - while the rest of us keep arriving, notebooks open, cameras ready, half expecting to see haishi. 。 8月19日朝中社报道，朝鲜劳动党中央委员会部长金与正表示，如果日本试图做出错误的选择，将立即遭到朝方毁灭性、无法幸存的打击。 金与正 同一天，我外交部发言人林剑在记者会上表示，中方赞同俄外长拉夫罗夫的有关表态。 17日拉夫罗夫公开表示，希望日本“充分认真阅读”《联合国宪章》第107条，即“敌国条款”。三天之内，中俄朝相继对日本发出严厉警告，这不是巧合，是日本咎由自取。 从去年11月至今，在高市早苗的带领下，日本朝着军国主义道路狂飙突进。
C | 2026财年日本防卫预算突破9万亿日元，连续14年增长，2023至2027财年防卫总开支目标高达43万亿日元。这已经不是防卫了，而是扩军。 另外，日本政府还在推动修订“安保三文件”，从专守防卫转向主动进攻，放开杀伤性武器出口；在靠近台海的西南岛屿，部署改进型12式反舰导弹、岛屿防卫用高速滑翔弹；不久前还试射“战斧”，设立“国家情报局”，号称新时代的“特高课”；在广岛、长崎核爆纪念仪式上，高市避而不谈是否坚守“无核三原则”。 今年8月15日，日本战败投降81周年，高市虽然没有亲去，但她遥拜“战犯神社”，还供奉祭祀费，多名现任阁僚也前往参拜。81年过去，日本右翼不仅没有反思侵略历史，反而变本加厉地为军国主义“招魂”。 拉夫罗夫提“敌国条款” 一个曾经对亚太各国犯下深重罪孽、且拒不承认错误的国家，如今还企图颠覆和平宪法和战后秩序，亚太各国怎能不警惕？ 中俄此时重提“敌国条款”正当其时。《联合国宪章》第107条明确规定，对于第二次世界大战中的敌国，如果其再次采取侵略行动，战胜国可以不经安理会授权直接采取行动。换句话说，只要日本敢轻举妄动，中俄完全可以绕过安理会直接出兵。 日本不是没想过要联合国删除这一条款，1995年联合国大会曾通过决议，认为该条款“过时”了，但修改需要复杂的法定程序，条款至今依然有效。日本外务省嘴上说“已经失效”，但成文法律摆在那里，没经过正式修改程序，就是有效的。 中方的表态比俄方更进一步，不仅赞同拉夫罗夫的表态，还特意强调，今年是东京审判开庭80周年，重申“敌国条款”的含义和约束力，对于捍卫二战胜利成果、严防军国主义死灰复燃具有重要意义。 外交部发言人林剑 发言人林剑还点出了《开罗宣言》《波茨坦公告》和《日本投降书》，这些文件明确了日本作为战败国的国际义务，是日本重返国际社会的政治和法律前提。日本今天的一切国际地位，都是建立在承认战败事实、接受国际法约束的基础之上的。若日本想推翻这个基础，那当年怎么进来，现在就可以怎么清出去。
D | 而朝鲜的话更直白、也更强烈，这是因为朝日离得很近，感受也最直接。日本部署中远程导弹、谋求“核共享”，首先威胁到的就是朝鲜半岛。金与正的表态，不是普通的外交照会，是代表了朝鲜最高层的意志，没有任何回旋余地。 金与正说“毁灭性、无法幸存的打击”，这不是外交辞令，而是最直白的战争语言，朝鲜是有核国家，这句话的含金量和分量，日本心里应该清楚。 可以说，中俄用的是国际法武器，朝鲜用的是军事威慑武器，虽然手段不同，但目标一致，都是对日本“再军事化”的警告。 日本对亚太各国罪孽深重 日本有“案底”在身的，70多年前，日本军国主义给亚洲各国造成了数千万人的伤亡。战后国际秩序的核心任务之一，就是防止日本再次走上那条路。国际法、敌国条款绝不是摆设，是日本脖子上的绳索，只要日本一天不彻底反省侵略历史、一天不放弃军国主义野心，这条绳索就一天不会松开。返回，查看更多。
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