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One Piece 1161 Spoilers Release Date
One Piece 1161 Spoilers will be coming out on Sunday, 21 September 2025. The chapter will be officially released a week later on 28 September 2025.
One Piece 1161 Spoiler Update – UNCONFIRMED
Rocks Pirates and God’s Knight face off near the end of the chapter
Teach finds out his father is there to save him
These spoilers are from Japan, however, from a new leaker so take it with a grain of salt. More will come soon.
Additional Spoilers – CONFIRMED
Oda is hyping up Garp crazy in this chapter. We get quite a few Garp focused panel where he is showing his strength.
Shanks was dropped on his head as a baby, much like Goku. Did that make the heart change? lol.
Also Rayleigh Upscale in this chapter. You will love this.
One Piece Chapter 1161 Brief Spoilers
Title: A Poem of Love Bound Amid a Rain of Arrows
There is both a color spread and a normal cover in this chapter.
Normal Cover: Yamato, Momonosuke, and Kin’emon are praying at a shrine.
Dragon faces off against the Holy Knight woman with sharp fangs, who hits him with a powerful beam. Before Dragon can be killed, Whitebeard unintentionally saves him.
Many pirates betray Rocks, so Whitebeard, Linlin, and Kaido team up to defeat them all. Garp appears and attacks them. Linlin counters with a fire attack, but it has no effect.
Whitebeard, Linlin, and Kaido retreat from Garp because they don’t have time to fight, even though Kaido wanted to face him.
The Roger Pirates and Rocks Pirates, including Whitebeard, Big Mom, Shiki, and Kaido, are about to clash in God Valley City.
Shakky escapes on her own, but Sommers catches her and nearly kills her. Rayleigh arrives and defeats Sommers with a powerful attack. Rayleigh rescues Shakky, and Roger and Gaban cry tears of relief.
No break next week.
ADDITIONAL SPOILERS
Shanks fall off with his head and hit the ground, Dragon take him and run away, the Holy Knight, Whitebeard defeated, run away with Shamrock.
Whitebeard slice the Holy Knight in half(she is not dead yet) Rayleigh defeates Sommer with one attack too.
GARP MADE WHITEBEARD,BIG MOM and KAIDO RUN AWAY.
You guys are judging Roger and Gaban way too early. Roger fights Whitebeard(Roger vs Whitebeard!) and clears the way for Rayleigh (even saying that Rayleigh should go). Both of them supported Rayleigh and ended up crying tears of joy.
MORE SPOILERS
- Rayleigh’s move is called Red Spider Lily.
- A fang-toothed woman from the God’s Knights, Mafigon of the Satchel Family, fires a beam that pierces Dragon’s shoulder.
- Roger, stuck in a sword clash with Whitebeard, tells Rayleigh to go save Shakky.
- Shakky tries to run, but Sommers shows up. He says she’ll fall into Garlings’ hands anyway, so he might as well kill her now.
Just as Sommers is about to strike, Rayleigh appears, draws his sword, and uses Red Spider Lily to send Sommers flying.
Rayleigh and Shakky embrace, while Roger and Gabban break down crying.
FULL SUMMARY ONE PIECE 1161
Chapter of 19 pages (2 color pages from Color Spread and 17 black and white normal pages).
- Chapter 1,161: “The Song of Love that blew through the shower of arrows”.
- This week chapter has Color Spread and normal cover at the same time!!
- Special reader request for Color Spread: “Straw Hat crew playing in a claw machine against a giant lion”.
Usopp is playing in a big claw machine against a huge lion. Machine prizes are hundred of stuffed toys and all of them are One Piece characters related with Straw Hat crew. For example, Luffy is carrying stuffed toys of Shanks, Ace, Sabo, Dadan, Garp, Makino, Rayleigh, Whitebeard and Gaimon. Nami carries stuffed toys of Bell-mère, Nojiko, Genzo, Haredas and Vivi.
Zoro and Jinbe are sleeping on top of giant stuffed toys of Dorry, Brogy, Saul and Shirahoshi. Sanji throws Buggy stuffed toy to Zoro. Chopper is crying because he’s trapped inside the claw machine, Robin is praying for him and Franky realizes they don’t have enough coins to play in the claw machine. And Brook is inside the claw machine too because he’s one of the claws looool
- Ogre Child Yamato’s Golden Harvest Surrogate Pilgrimage, Vol. 43: “Heroes’ resting place”. Yamato, Kinemon and Momonosuke are praying inside a shrine. We can see paper lamps with the name of Wanokuni’s heroes (Kouzuki Oden, Kouzuki Toki, Izou, Ashura Doji, Yasuie…).
- Chapter starts with battles everywhere in God Valley. Dragon was running away with Shanks and Shamrock but a laser beam pierced him. Dragon and the babies fell to the ground, Shanks hit his little head and lost consciousness.
- Dragon was attacked by the big woman with sharp teeth from last chapter, she shot a beam from her mouth like a Pacifista. That woman was “Saint Maffey” from “Satchel Family” and she was part of the “Knights of God”.
- Maffey picked Shamrock up from the ground. She was sent by the Tenryuubito in charge of the babies. He wanted her to bring them back before Garling finds out what happened and kills him.
- Maffey was surprised to discover that Garling had children, and she was also surprised to see that someone wanted to kidnap them. Dragon was injured but he wanted to save the babies because they were his atonement to make up for his participation in that cruel game of murder.
- When Maffey was about to kill Dragon with her sword, she was slashed in half by Whitebeard who coincidentally appear there along with Shiki, Big Mom and Kaidou. Shiki was angry with Whitebeard saying he was trying to kill him. Kaidou was annoyed with Linlin too.
- Suddenly, many pirates from Hachinosu encircled them. That pirates turned on the “Rocks Pirates” instead of trying to find Shakky because they thought they will make a huge name if defeated them. But Whitebeard, Shiki, Big Mom and Kaidou attacked them together in an EPIC double page.
- Maffey (still with Shamrock in her hands) wondered what the heck was going on with that island. Dragon managed to get away from the area, thinking the children had been taken. But to his surprise, he saw Shanks unconscious on the ground and he run away with the baby.
- Garp noticed the “big shots” are near him so he went to “catch” them. Garp punched the ground while Whitebeard, Big Mom and Kaidou dodged the attack. Kaidou wanted to fight Garp but Big Mom and Whitebeard didn’t want to drag things out so they run away.
- As they run, Big Mom combined Zeus and Prometheus into a massive attack called “Heavenly Fire Breeze”. But Garp takes no damage. Garp: “This fire can’t even roast a prime rib, Linlin!!”
- After that we see Rocks running to the center of God Valley. He was thinking about his son and his wife (called “Ellis”).
- Then we see that “Rocks Pirates” and “Roger Pirates” were closing in to the middle of the valley. Roger went fight Whitebeard, pretending he had his hand full and then he ordered Rayleigh to go help Shakky instead.
- Marines tried to take Shakky away but she kicked and defeated them all even in chains. But Sommers appeared and slapped/hit Shakky with his club. Sommers prepared to kill Shakky since she will belong to Gartling anyway.
- But in the FUCKING AMAZING last double page of the chapter Rayleigh appeared to save Shakky and defeated Sommers with a new attack called “Billhook of the Beyond” (Higanbana in japanese, same pronunciation as red spider lily flower). Rayleigh’s attack pose is very similar to Zoro’s pose when he uses “Onigiri” attack.
Rayleigh: “Shakky… Sorry I’m late. But I have come to get you!!!”
- Rayleigh offered his hand to Shakky (now Rayleigh’s pose is very similar to Luffy’s pose when he offered his hand to Momonosuke in Zou). Shakky burst into tears and they both hug each other while crying. Roger and Gaban also cried but with a mix of joy and jealousy (we can see a broken heart in their text balloons looool)
Shakky: “Ray-san!!! You are so slow!!”
Rayleigh: “I am sorry for you to have to experience such things…”
Shakky: “I was so scared!!”
Rayleigh: “I will neve…”
Roger/Gaban: “Do it later you bastard!!!”
- Chapter ends with an order from Roger to all his nakamas…
Roger: “Boys!! We have Shakky back!!! Let’s take the treasures and get out of this place~~~!!!”
Roger Pirates: “Yeeeeeah~~~~!!!”
- End of chapter. NO break next week.
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“One Piece” is a beloved Japanese manga and anime series that chronicles the adventures of Monkey D. Luffy and his pirate crew. Luffy, imbued with rubber powers from a mystical fruit Hito Hito no Mi, aspires to become the Pirate King. To achieve this, he seeks the ultimate treasure, the “One Piece,” hidden at the Grand Line’s end. Along the journey, Luffy gathers a diverse crew, confronts formidable foes, and uncovers world-altering secrets, all while promoting themes of friendship, freedom, and adventure.
In a significant move aimed at bolstering the struggling South Korean film industry, lawmakers have proposed a new amendment that would enforce a mandatory six-month “holdback” window between a movie’s theatrical release and its availability on over-the-top (OTT) streaming platforms.
This legislation seeks to protect cinemas from losing audiences to early streaming debuts and to ensure the continued financial health of film production and theatrical exhibition.
The Decline in Theater Attendance
South Korea’s cinema industry has been grappling with declining audience numbers over the past several years, a trend exacerbated by the COVID-19 pandemic and the rapid rise of OTT services.
According to data cited by lawmakers, annual theater admissions are projected to drop below 100 million in 2025—roughly half of the pre-pandemic peak of 226.67 million admissions in 2019.
As of mid-September 2025, the year-to-date admissions were approximately 69.98 million, signaling a sharp downward trajectory.
This decline has raised alarm bells among filmmakers, distributors, and cinema operators, who argue that quick OTT releases undermine the traditional film release window, reducing box office revenue and jeopardizing the economic model that funds future movie productions.
The Proposed Amendment: A Six-Month Holdback Window
On September 12, 2025 (KST), Im O-kyeong of the Democratic Party formally filed an amendment to the Act on the Promotion of Motion Pictures and Video Products.
The amendment mandates that films must remain exclusive to theaters for a minimum of six months before being made available on OTT platforms.
The proposal aims to legally codify a theatrical exclusivity period—often called a “holdback” window—that many in the industry view as essential to preserving the viability of cinemas.
The new law would close the current gap where streaming services sometimes acquire film rights shortly after or even during theatrical runs, a practice critics say has eroded the box office’s primary revenue source.
Im O-kyeong’s office highlighted the impact of aggressive OTT acquisitions during the pandemic, stating that global streaming giants, backed by immense capital, have prioritized immediate online availability over traditional theatrical runs.
This, they argue, has “worsened production conditions” by disrupting the reinvestment cycle that relies on box office profits.
The law intends to promote a healthier ecosystem where films complete their cinematic life before transitioning to digital formats, ensuring “mutually beneficial growth across the industry.”
Protecting the Production Pipeline
The economic logic behind the holdback is straightforward: theatrical releases generate significant revenue, a portion of which funds new productions.
When films quickly move to OTT, cinemas lose ticket sales, which reduces the income that producers and studios can reinvest in new movies.
Before the pandemic, many films enjoyed theatrical exclusivity windows of up to 90 days or more.
However, the rapid pivot to streaming during lockdowns shortened these windows dramatically, with some films becoming available on OTT platforms within two to three months of their cinema debut.
Supporters of the amendment argue that returning to a six-month window is necessary to rebuild a sustainable theatrical market, which in turn supports a robust film production pipeline.
International Comparisons
South Korea is not alone in grappling with how to balance theatrical and streaming releases. Internationally, release window policies vary widely:
France is known for its stringent release window laws, historically requiring a 36-month gap before films could appear on streaming platforms.
However, recent reforms have shortened this to approximately 15 months for platforms investing significantly in local film production.
France has managed to maintain relatively stable cinema attendance compared to other markets.
The United Kingdom primarily relies on industry agreements rather than hard laws to regulate release windows, resulting in more flexible but less consistent practices.
North America (U.S. and Canada) also has no federal law enforcing release windows; decisions are mostly made through negotiations between studios and distributors.
The result is a post-pandemic attendance recovery that remains below pre-pandemic levels, indicating release windows are only one factor among many affecting cinema attendance.
South Korea’s approach to legislate a six-month holdback reflects a more interventionist stance intended to preserve its unique film ecosystem.
Funding Challenges and OTT Contributions
Another critical policy issue intertwined with the holdback debate involves the Film Development Fund in South Korea, financed by a 3% levy on movie ticket sales.
This fund supports film production, marketing, and distribution efforts.
OTT platforms, however, currently do not contribute to this levy because movies released online are not classified legally as theatrical “films.”
This discrepancy has drawn criticism from cultural policymakers, including Choi Hwi-young, Minister of Culture, Sports, and Tourism, who remarked,
“It defies common sense that a movie shown on an OTT service is not legally considered a film.”
Reforming how OTT releases are categorized and funded remains an open question, with potential future policy changes aimed at ensuring streaming platforms contribute fairly to the industry’s sustainability.
Consumer Perspective and Potential Pushback
From the consumer’s viewpoint, the proposed holdback may be met with mixed reactions.
OTT services provide affordable, convenient, and expansive libraries for a flat monthly fee, making them an attractive alternative to theaters, which often charge the equivalent of two or more OTT subscriptions for a single movie outing.
Extending the wait for streaming availability to six months—longer than the current norm of one to three months—could frustrate viewers accustomed to quick access and lead to debates about consumer choice and access.
However, supporters argue that a stronger theatrical market ultimately benefits consumers by fostering more diverse and higher-quality film productions.
Looking Ahead
South Korea’s move to legislate a six-month OTT holdback window is a landmark step in navigating the evolving media landscape.
It reflects the government’s commitment to preserving the cinema-going experience and sustaining a vibrant domestic film industry in the face of disruptive streaming trends.
As the bill progresses through legislative channels, it will be closely watched by filmmakers, distributors, cinema owners, streaming services, and audiences alike.
Balancing industry health, creative investment, and consumer preferences remains a complex challenge, but this measure aims to safeguard the future of South Korean cinema for years to come.
