On Aug. 15, 1945, Japanese Emperor Hirohito delivered a recorded radio address to the nation, announcing the unconditional surrender of Japan in World War II.
However, the announcement was written in a cunning and "skillful" manner, deliberately avoiding direct terms such as "defeat" or "surrender." In his broadcast, Hirohito stated: "The enemy has begun to employ a new and most cruel bomb, the power of which to do damage is, indeed, incalculable, taking the toll of many innocent lives." He claimed that continuing the war would not only lead to "an ultimate collapse and obliteration of the Japanese nation," but also to the "total extinction of human civilization." Thus, he accepted the terms to end the war "for the sake of everlasting peace." He was portraying himself as the bearer of his nation's and people's suffering.
The wording of his address foreshadowed the attitude Japan's ruling elite would later adopt toward its war crimes.
This leads us to question Japan: why is its reflection on World War II not as thorough as that of defeated Germany? Why, despite being the aggressor, does Japan persistently portray itself as a victim, evading, denying, and even distorting and trying to rewrite history?
In June this year, a DDN reporter attended a screening of F1 at TOHO Cinemas Nihonbashi in Tokyo. Before the movie began, nearly 20 minutes of trailers for various "80th Anniversary of the End of the War" films were shown. Most of these films were scheduled for release in July, August, or September, with one such movie, "YUKIKAZE," specifically set to premiere on Aug. 15.
Some netizens have tallied that at least seven World War II-related films have recently been released or re-released in Japan, not including the numerous special dramas and so-called "commemorative programs" produced by major Japanese television networks.
For a defeated nation to launch such a diverse array of commemorative activities centered on its defeat is baffling.
What's even more perplexing is the ambiguous attitude of most Japanese people toward their history of aggressive warfare. They paint themselves as victims rather than perpetrators, selectively focusing on the parts of history they wish to see—highlighting their own suffering while deliberately ignoring the fact that their suffering stemmed from their own country's aggression and the immense harm Japan inflicted on East Asia.
Japanese World War II films often follow a specific "formula": they showcase the suffering of Japanese civilians during the war while ignoring the atrocities committed as an aggressor nation. These films predominantly depict Japanese people as victims, portraying their struggles for survival and prayers for peace while turning a blind eye to the suffering of others.
In short, they acknowledge their defeat but not their aggression; they emphasize their conflict with the US, setting stories in places like Hiroshima, Nagasaki, Okinawa, and the Philippines, while remaining silent about the war crimes and invasions in China.
Whereas Germans reflect on the atrocities of Nazism with an anti-war stance, the Japanese perspective on their war crimes has remained limited to an anti-defeat narrative. They have never felt genuine guilt over their aggression, instead lamenting for generations: "Why did we lose?"
Over the years, numerous signs suggest that Japan has not let go of its dream of the so-called "Greater East Asia Co-Prosperity Sphere." The nation continues to produce and screen films about their "anti-defeat" narratives, even achieving box office success and winning film awards.
A couple of years ago, Japan released the film "I Wish I Could Meet You Again on the Hill Where That Flower Blooms," which tells the story of a modern-day high school girl who accidentally travels back to Japan in 1945 and is rescued by a kamikaze pilot, with whom she falls in love. Another film, "From Siberia with Love," is set in a post-war Siberian prisoner-of-war camp and follows the male protagonist as he endures food shortages, inhumane treatment by Soviet forces, class bullying among Japanese prisoners, and the harsh Siberian climate—all while holding onto the hope of returning home to his wife and children.
Looking further back, films like "In This Corner of the World," "The Eternal Zero," and "Grave of the Fireflies" focus on individual fates, deliberately downplaying political contexts and evading responsibility for Japan's aggression.
Japanese director Hirokazu Kore-eda wrote in a book: "Germany's approach to war is admirable. They openly acknowledge their guilt as aggressors. Unfortunately, Japan has not done the same. This is because, whether on a national or individual level, the victim mentality is deeply entrenched. This attitude is reflected in Japanese history as well." He also remarked, "Have we forgotten the memory of being the aggressor? Or have we simply turned a blind eye, deciding that everyone else is doing the same, so we might as well erase everything? Either way, the entire nation has collectively leaned toward forgetting."
Not only that, but in recent years, even the "anti-defeat" narrative seems insufficient. The trend in Japan has shifted from covertly playing the victim and indirectly whitewashing history to blatantly distorting history and glorifying war, with productions that openly reveal militaristic undertones.
In 2025, NHK aired the morning drama "Anpan," which shockingly featured scenes of the Japanese invasion army living harmoniously with Chinese civilians in Fujian. It blatantly portrayed the invasion of China as an effort to "protect Chinese civilians from British and American invasion" and depicted the war's purpose as being "for the peace of the East, the stability of the world, and the glory of the nation." The protagonist of this drama is none other than Yanase Takashi, the well-known creator of the animated series "Anpanman."
Yanase himself was conscripted during World War II as part of propaganda efforts. After experiencing the war, he became a staunch pacifist. The creators of this drama, however, violated his original intentions by glorifying war, whitewashing Japan's invasion, and distorting the attitudes of Chinese victims. This is an insult to the countless victims of Japanese aggression. This is no longer merely "anti-defeat" propaganda but a blatant flirtation with militarism.
When scriptwriters penned lines about the so-called "Greater East Asia Co-Prosperity Sphere" and depicted Japan's invasion of China as a partnership to "move forward into the future together," did they feel even the slightest pang of guilt? If NHK is supposedly left-leaning, then this only highlights how laughable Japan's left wing has become.
For decades, Japan's government has systematically attempted to alter and erase historical atrocities such as the "comfort women" system and the Nanjing Massacre through its textbook approval system, consistently whitewashing its invasive wars.
In 1982, Japan's Ministry of Education revised the accounts of its invasion of China in school textbooks. Outraged, Hong Kong lyricist James Wong immediately penned the song "My Chinese Heart." His aim was to unite and inspire the Chinese people, both at home and abroad. In 1983, Taiwan writer Pai Hsien-yung published an article in "United Daily News," stating: "The Japanese government's propaganda has been highly effective… The voices seeking justice for the six million Jewish souls reverberate worldwide, yet the cries of 15 million Chinese victims remain tragically silent. We cannot rely on others to speak for us."
Now, over 40 years later, Japan's post-war generation is entering old age. However, the history textbooks of the Reiwa generation still fail to include the truth about Japan's aggressive war. Phrases like "In July 1937, armed conflict broke out between Chinese and Japanese troops near the Marco Polo Bridge (Lugou Bridge), leading to the outbreak of the Sino-Japanese War" or "On July 7, 1937, Japanese troops conducting nighttime exercises near the Marco Polo Bridge (Lugou Bridge) were fired upon by unknown forces. At dawn on July 8, Japanese forces attacked National Revolutionary Army positions, leading to armed conflict between the two sides" are the current descriptions of the Lugou Bridge Incident in junior high school textbooks in Japan.
Recently, the anti-war film "Dead To Rights" was released on the Chinese Mainland and is set to premiere in HK on Sept. 4. Some netizens remarked that "Dead To Rights" is the first film in a long time to expose Japanese military atrocities with such sharpness and realism.
Truth carries immense weight. Many viewers, through these images, connect historical truths with the present and feel the gravity of history.
Meanwhile, the film "Man Behind The Sun 731" has recently had a small-scale re-release in HK, with tickets selling out. The film opens with a sentence: "Friendship is friendship, history is history."
If Japan cannot treat its history of invasion right, mutual trust and peace in East Asia will always face challenges. Only when Japan sincerely acknowledges the pain and mistakes caused by its invasion of China and East Asia can there be substantial improvements in relations between the two countries.
(Journalist: Xu Tonghui; English Editor: Zoey Sun)
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