By CHRIS McGOWAN Images courtesy of Warner Bros. Pictures. Final Destination Bloodlines, the sixth installment in the graphic horror series, kicks off with the film’s biggest challenge – deploying an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant. While there in 1968, young Iris Campbell (Brec Bassinger) has a premonition about the Skyview burning, cracking, crumbling and collapsing. Then, when she sees these events actually starting to happen around her, she intervenes and causes an evacuation of the tower, thus thwarting death’s design and saving many lives. Years later, her granddaughter, Stefani Reyes (Kaitlyn Santa Juana), inherits the vision of the destruction that could have occurred and realizes death is still coming for the survivors. “I knew we couldn’t put the whole [Skyview restaurant] on fire, but Tony [Lazarowich, Special Effects Supervisor] tried and put as much fire as he could safely and then we just built off that [in VFX] and added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction that can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” —Nordin Rahhali, VFX Supervisor The film opens with an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant – and its collapse. Drone footage was digitized to create a 3D asset for the LED wall so the time of day could be changed as needed. “The set that the directors wanted was very large,” says Nordin Rahhali, VFX Supervisor. “We had limited space options in stages given the scale and the footprint of the actual restaurant that they wanted. It was the first set piece, the first big thing we shot, so we had to get it all ready and going right off the bat. We built a bigger volume for our needs, including an LED wall that we built the assets for.” “We were outside Vancouver at Bridge Studios in Burnaby. The custom-built LED volume was a little over 200 feet in length” states Christian Sebaldt, ASC, the movie’s DP. The volume was 98 feet in diameter and 24 feet tall. Rahhali explains, “Pixomondo was the vendor that we contracted to come in and build the volume. They also built the asset that went on the LED wall, so they were part of our filming team and production shoot. Subsequently, they were also the main vendor doing post, which was by design. By having them design and take care of the asset during production, we were able to leverage their assets, tools and builds for some of the post VFX.” Rahhali adds, “It was really important to make sure we had days with the volume team and with Christian and his camera team ahead of the shoot so we could dial it in.” Built at Bridge Studios in Burnaby outside Vancouver, the custom-built LED volume for events at the Skyview restaurant was over 200 feet long, 98 feet wide and 24 feet tall. Extensive previs with Digital Domain was done to advance key shots. (Photo: Eric Milner) Zach Lipovsky and Adam Stein directed Final Destination Bloodlines for New Line film, distributed by Warner Bros., in which chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated death at some point. Pixomondo was the lead VFX vendor, followed by FOLKS VFX. Picture Shop also contributed. There were around 800 VFX shots. Tony Lazarowich was the Special Effects Supervisor. “The Skyview restaurant involved building a massive set [that] was fire retardant, which meant the construction took longer than normal because they had to build it with certain materials and coat it with certain things because, obviously, it serves for the set piece. As it’s falling into chaos, a lot of that fire was practical. I really jived with what Christian and directors wanted and how Tony likes to work – to augment as much real practical stuff as possible,” Rahhali remarks. “I knew we couldn’t put the whole thing on fire, but Tony tried and put as much fire as he could safely, and then we just built off that [in VFX] and added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” The Skyview restaurant required building a massive set that was fire retardant. Construction on the set took longer because it had to be built and coated with special materials. As the Skyview restaurant falls into chaos, much of the fire was practical. (Photo: Eric Milner) “We got all the Vancouver skyline [with drones] so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” —Christian Sebaldt, ASC, Director of Photography For drone shots, the team utilized a custom heavy-lift drone with three RED Komodo Digital Cinema cameras “giving us almost 180 degrees with overlap that we would then stitch in post and have a ridiculous amount of resolution off these three cameras,” Sebaldt states. “The other drone we used was a DJI Inspire 3, which was also very good. And we flew these drones up at the height [we needed]. We flew them at different times of day. We flew full 360s, and we also used them for photogrammetry. We got all the Vancouver skyline so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” Rahhali adds, “All of this allowed us to figure out what we were going to shoot. We had the stage build, and we had the drone footage that we then digitized and created a 3D asset to go on the wall [so] we could change the times of day” Pixomondo built the volume and the asset that went on the LED wall for the Skyview sequence. They were also the main vendor during post. FOLKS VFX and Picture Shop contributed. (Photo: Eric Milner) “We did extensive previs with Digital Domain,” Rahhali explains. “That was important because we knew the key shots that the directors wanted. With a combination of those key shots, we then kind of reverse-engineered [them] while we did techvis off the previs and worked with Christian and the art department so we would have proper flexibility with the set to be able to pull off some of these shots. [For example,] some of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paul [Max Lloyd-Jones] as he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” Some shots required the Skyview’s ceiling to be lifted and partially removed to get a crane to shoot Paul Campbell (Max Lloyd-Jones) as he’s about to fall. The character Iris lived in a fortified house, isolating herself methodically to avoid the Grim Reaper. Rahhali comments, “That was a beautiful location [in] GVRD [Greater Vancouver], very cold. It was a long, hard shoot, because it was all nights. It was just this beautiful pocket out in the middle of the mountains. We in visual effects didn’t do a ton other than a couple of clean-ups of the big establishing shots when you see them pull up to the compound. We had to clean up small roads we wanted to make look like one road and make the road look like dirt.” There were flames involved. Sebaldt says, “The explosion [of Iris’s home] was unbelievably big. We had eight cameras on it at night and shot it at high speed, and we’re all going ‘Whoa.’” Rahhali notes, “There was some clean-up, but the explosion was 100% practical. Our Special Effects Supervisor, Tony, went to town on that. He blew up the whole house, and it looked spectacular.” The tattoo shop piercing scene is one of the most talked-about sequences in the movie, where a dangling chain from a ceiling fan attaches itself to the septum nose piercing of Erik Campbell (Richard Harmon) and drags him toward a raging fire. Rahhali observes, “That was very Final Destination and a great Rube Goldberg build-up event. Richard was great. He was tied up on a stunt line for most of it, balancing on top of furniture. All of that was him doing it for real with a stunt line.” Some effects solutions can be surprisingly extremely simple. Rahhali continues, “Our producer [Craig Perry] came up with a great gag [for the] septum ring.” Richard’s nose was connected with just a nose plug that went inside his nostrils. “All that tugging and everything that you’re seeing was real. For weeks and weeks, we were all trying to figure out how to do it without it being a big visual effects thing. ‘How are we gonna pull his nose for real?’ Craig said, ‘I have these things I use to help me open up my nose and you can’t really see them.’ They built it off of that, and it looked great.” Filmmakers spent weeks figuring out how to execute the harrowing tattoo shop scene. A dangling chain from a ceiling fan attaches itself to the septum nose ring of Erik Campbell (Richard Harmon) – with the actor’s nose being tugged by the chain connected to a nose plug that went inside his nostrils. “[S]ome of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paul [Campbell] as he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” —Nordin Rahhali, VFX Supervisor Most of the fire in the tattoo parlor was practical. “There are some fire bars and stuff that you’re seeing in there from SFX and the big pool of fire on the wide shots.” Sebaldt adds, “That was a lot of fun to shoot because it’s so insane when he’s dancing and balancing on all this stuff – we were laughing and laughing. We were convinced that this was going to be the best scene in the movie up to that moment.” Rahhali says, “They used the scene wholesale for the trailer. It went viral – people were taking out their septum rings.” Erik survives the parlor blaze only to meet his fate in a hospital when he is pulled by a wheelchair into an out-of-control MRI machine at its highest magnetic level. Rahhali comments, “That is a good combination of a bunch of different departments. Our Stunt Coordinator, Simon Burnett, came up with this hard pull-wire line [for] when Erik flies and hits the MRI. That’s a real stunt with a double, and he hit hard. All the other shots are all CG wheelchairs because the directors wanted to art-direct how the crumpling metal was snapping and bending to show pressure on him as his body starts going into the MRI.” To augment the believability that comes with reality, the directors aimed to capture as much practically as possible, then VFX Supervisor Nordin Rahhali and his team built on that result. (Photo: Eric Milner) A train derailment concludes the film after Stefani and her brother, Charlie, realize they are still on death’s list. A train goes off the tracks, and logs from one of the cars fly though the air and kills them. “That one was special because it’s a hard sequence and was also shot quite late, so we didn’t have a lot of time. We went back to Vancouver and shot the actual street, and we shot our actors performing. They fell onto stunt pads, and the moment they get touched by the logs, it turns into CG as it was the only way to pull that off and the train of course. We had to add all that. The destruction of the houses and everything was done in visual effects.” Erik survives the tattoo parlor blaze only to meet his fate in a hospital when he is crushed by a wheelchair while being pulled into an out-of-control MRI machine. Erik (Richard Harmon) appears about to be run over by a delivery truck at the corner of 21A Ave. and 132A St., but he’s not – at least not then. The truck is actually on the opposite side of the road, and the person being run over is Howard. A rolling penny plays a major part in the catastrophic chain reactions and seems to be a character itself. “The magic penny was a mix from two vendors, Pixomondo and FOLKS; both had penny shots,” Rahhali says. “All the bouncing pennies you see going through the vents and hitting the fan blade are all FOLKS. The bouncing penny at the end as a lady takes it out of her purse, that goes down the ramp and into the rail – that’s FOLKS. The big explosion shots in the Skyview with the penny slowing down after the kid throws it [off the deck] are all Pixomondo shots. It was a mix. We took a little time to find that balance between readability and believability.” Approximately 800 VFX shots were required for Final Destination Bloodlines. (Photo: Eric Milner) Chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated Death at some point in the Final Destination films. From left: Kaitlyn Santa Juana as Stefani Reyes, director Adam Stein, director Zach Lipovsky and Gabrielle Rose as Iris. (Photo: Eric Milner) Rahhali adds, “The film is a great collaboration of departments. Good visual effects are always a good combination of special effects, makeup effects and cinematography; it’s all the planning of all the pieces coming together. For a film of this size, I’m really proud of the work. I think we punched above our weight class, and it looks quite good.”

A significant cyber breach at His Majesty’s Revenue and Customs (HMRC) that saw scammers cheat the public purse out of approximately £47m has been met with dismay from security experts thanks to the sheer simplicity of the attack, which originated via account takeover attempts on legitimate taxpayers. HMRC disclosed the breach to a Treasury Select Committee this week, revealing that hackers accessed the online accounts of about 100,000 people via phishing attacks and managed to claim a significant amount of money in tax rebates before being stopped. It is understood that those individuals affected have been contacted by HMRC – they have not personally lost any money and are not themselves in any trouble. Arrests in the case have already been made. During proceedings, HMRC also came in for criticism by the committee’s chair Meg Hillier, who had learned about the via an earlier news report on the matter, over the length of time taken to come clean over the incident. With phishing emails sent to unwitting taxpayers identified as the initial attack vector for the scammers, HMRC might feel relieved that it has dodged full blame for the incident. But according to Will Richmond-Coggan, a partner specialising in data and cyber disputes at law firm Freeths, even though the tax office had gone to pains to stress its own systems were never actually compromised, the incident underscored just how widespread the consequences of cyber attacks can be – snowballing from simple origins into a multimillion pound loss. “It is clear from HMRC's explanation that the crime against HMRC was only possible because of earlier data breaches and cyber attacks,” said Richmond-Coggan. “Those earlier attacks put personal data in the hands of the criminals which enabled them to impersonate tax payers and apply successfully to claim back tax.” Meanwhile, Gerasim Hovhannisyan, CEO of EasyDMARC, an email security provider, pointed out that phishing against both private individuals and businesses and other organisations had long ago moved beyond the domain of scammers chancing their luck. While this type of scattergun fraud remains a potent threat, particularly to consumers who may not be informed about cyber security matters – the scale of the HMRC phish surely suggests a targeted operation, likely using carefully crafted email purporting to represent HMRC itself, designed to lure self-assessment taxpayers into handing over their accounts. Not only that, but generative artificial intelligence (GenAI) means targeted phishing operations have become exponentially more dangerous in a very short space of time, added Hovhannisyan. “[It] has made [phishing] scalable, polished, and dangerously convincing, often indistinguishable from legitimate communication. And while many organisations have strengthened their security perimeters, email remains the most consistently exploited and underestimated attack vector,” he said. “These scams exploit human trust, using urgency, authority, and increasingly realistic impersonation tactics. If HMRC can be phished, anyone can.” Added Hovhannisyan: “What’s more alarming is that the Treasury Select Committee only learned of the breach through the news. When £47m is stolen through impersonation, institutions can’t afford to stay quiet. Delayed disclosure erodes trust, stalls response, and gives attackers room to manoeuvre.” Once again a service’s end-users have turned out to be the source of a cyber attack and as such, whether they are internal or – as in this case – external, are often considered an organisation’s first line of defence. However, it is not always wise to take this approach, and for an organisation like HMRC daily engaging with members of the public, it is also not really possible. Security education is a difficult proposition at the best of times and although the UK’s National Cyber Security Centre (NCSC) provides extensive advice and guidance on spotting and dealing with phishing emails for consumers – it also operates a phishing reporting service that as of April 2025 has received over 41 million scam reports – bodies like HMRC cannot rely on everybody having visited the NCSC’s website. As such, Mike Britton, chief information officer (CIO) at Abnormal AI, a specialist in phishing, social engineering and account takeover prevention, argued that HMRC could and should have done more from a technical perspective. “Governments will always be a high tier target for cyber criminals due to the valuable information they hold. In fact, attacks against this sector are rising,” he said. “In this case, it looks like criminals utilised account take over to conduct fraud. To combat this, multifactor authentication (MFA) is key, but as attacks grow more sophisticated, further steps must be taken.” Britton said organisations like HMRC really needed to consider adopting more layered security strategies, not only including MFA but also incorporating wider visibility and unified controls across its IT systems. Account takeover attacks such as the ones seen in this incident can unfold quickly, he added, so its cyber function should also be equipped with the tools to identify and remediate compromised accounts on the fly. Read more about trends in phishing Quishing, meaning QR code phishing, is an offputting term for an on-the-rise attack method. Learn how to defend against it. A healthy dose of judicious skepticism is crucial to preventing phishing attacks, said David Fine, supervisory special agent at the FBI, during a presentation at a HIMSS event. Exchange admins got a boost from Microsoft when it improved how it handles DMARC authentication failures to help organisations fight back from email-based attacks on their users.

What worked in The Witcher 3 and what didn't: looking back on a landmark RPG with CD Projekt Red "We learned a lot of lessons down the road." Image credit: CD Projekt Red Feature by Robert Purchese Associate Editor Published on May 31, 2025 Do you remember what you were doing when The Witcher 3: Wild Hunt was released? It came out on 19th May 2015. I remember because I was inside CD Projekt Red at the time, trying to capture the moment for you - a moment I'm unlikely to replicate there or anywhere else. I recall sitting in the studio's canteen in the small hours of the morning, after a midnight launch event in a mall in Warsaw, chewing on a piece of cold pizza and wondering out loud what would come next for the studio, because at the time, who could know? One era was ending and another was about to begin. Would it bring the fame and fortune CD Projekt Red desired? Today, more than 60 million sales of The Witcher 3 later, we know the answer is yes. The Witcher 3 became a role-playing classic. It delivered one of the most touchable medieval worlds we've explored, a rough place of craggy rocks and craggier faces, of wonky morales and grim realities, of mud and dirtiness. And monsters, though not all were monstrous to look at. It was a world of grey, of superstition and folklore, and in it stood we, a legendary monster hunter, facing seemingly impossible odds. The Witcher 3 took fantasy seriously. But the decade since the game's release has been turbulent for CD Projekt Red. The studio launched its big new sci-fi series in 2020 with Cyberpunk 2077, and though the game has now sold more than 30 million copies, making it monetarily a success, it had a nightmarish launch. The PS4 version had to be removed from sale. It brought enormous pressure, growing pains and intense scrutiny to the studio, and CD Projekt Red would spend a further three years patching and updating - and eventually releasing an expansion - before public opinion would mostly turn around. Today the studio returns to safer ground, back to The Witcher world with the new game The Witcher 4, and as we look forward to it we should also look back, to the game that catapulted the studio to fame, and see what has been learnt. The Witcher 3 is at version 4.04 today, a number that represents an enormously long period of post-release support.Watch on YouTube It all began with naivety, as perhaps any ambitious project should. It's easy to forget that 14 years ago, when The Witcher 3 was being conceived, CD Projekt Red had never made an open-world game before. The Witcher 1 and The Witcher 2 were linear in their approaches. It's also easy to forget that the people making the game were 14 years younger and less experienced. Back then, this was the studio's chance at recognition, so it aimed high in order to be seen. "The Witcher 3 was supposed to be this game that will end all other games," Marcin Blacha, the lead writer of the game, tells me. Simply make an open-world game that's also a story-driven game and release it on all platforms at the same time. How hard could it be? "When I'm thinking about our state of mind back in those days, the only word that comes to my mind is enthusiastic," Blacha says. "It was fantastic because we were so enthusiastic that we were full of courage. We were trying to experiment with stuff and we were not afraid. We were convinced that when we work with passion and love, it will pay off eventually." Every project has to begin somewhere and for Blacha, the person tasked with imagining the story, The Witcher 3 could only begin with Ciri, the daughter-of-sorts to The Witcher's central monster hunter character Geralt. As Blacha says, "The most important thing about Geralt and the most important thing about the books is the relationship between Geralt, Ciri and Yennefer. I already did two games with no sign of Ciri, no sign of Yennefer, and then we finally had a budget and proper time for pre-production, so for me, it was time to introduce both characters." It's a decision that would have major repercussions for the rest of The Witcher series at CD Projekt Red. Blacha didn't know it then, but Ciri would go on to become the protagonist of The Witcher 4. Had she not been the co-protagonist of The Witcher 3 - for you play as her in several sections during the game - who knows if things would have worked out the same way. It's an understandable progression as it is, though there is still some uncertainty among the audience about Ciri's starring role. But Ciri's inclusion came with complications, because the Ciri we see in the game is not the Ciri described in the books. That Ciri is much closer to the Ciri in the Netflix Witcher TV show, younger and more rebellious in a typical teenager way. She might be an important part of the fiction, then, but that doesn't mean she was especially well liked. "People were thinking that she's annoying," says Blacha, who grew up reading The Witcher books. CD Projekt Red, then, decided to make a Ciri of its own, aging her and making her more "flesh and bone", as Blacha puts it. He fondly recalls a moment in the game's development when reviewing the Ciri sections of the game, and saying aloud to studio director Adam Badowski how much he liked her. "I didn't know that she's going to be the protagonist of the next game," he says, "but I said to Adam Badowski, she's going to be very popular." Once Ciri had been earmarked for inclusion in The Witcher 3, the idea to have her pursued by the phantom-like force of the Wild Hunt - the members of which literally ride horses in the night sky, like Santa Claus' cursed reindeer - came shortly after. CD Projekt Red had introduced the Wild Hunt in The Witcher 2 so it made sense. The outline of the main story was then laid down as a one-page narrative treatment. Then it was expanded to a two-page treatment, a four page treatment, an eight page treatment and so on. At around 10 pages, it already had the White Orchard prologue, almost the entirety of the No Man's Land zone, and a hint of what would happen on Skellige and in Novigrad. When it was around 40 pages long, the quest design team was invited in. CD Projekt Red made their Ciri older than she is in the books. | Image credit: CD Projekt Red The quest design team's job is to turn a story into a game, and this was a newly created department for The Witcher 3, created because the old way of writers designing the quests wasn't working any more. "We were struggling a bit with making sure that every written story that we have prepared is also a story that we can play well," Paweł Sasko says. He joined CD Projekt Red to be a part of that quest design team. The quest design team carves up a narrative treatment, paragraph by paragraph, and expands those into playable questlines for the game. "It's basically something between game design and a movie scenario," Sasko says. There's no dialogue, just a description of what will happen, and even a one-paragraph prompt can balloon into a 20-30 page design. Among the paragraphs Sasko was given to adapt was a storyline in No Man's Land concerning a character known as the Bloody Baron. The Bloody Baron storyline is widely acclaimed and has become synonymous with everything Sasko and CD Projekt Red were trying to do with the game. It's a storyline that probes into mature themes like domestic abuse, fatherhood, and love and loss and grief. More importantly, it presents us with a flawed character and allows us time and space to perhaps change our opinion of them. It gives us layers many other games don't go anywhere near. When Sasko first encountered the storyline, there was only an outline. "It said that Geralt meets the Bloody Baron who asks Geralt to hunt a monster and look for his wife and daughter, and for that, he is going to share information about Ciri and tell Geralt where she went. That was pretty much it." And Sasko already knew a few things about what he wanted to do. He knew he wanted to show No Man's Land as a Slavic region bathed in superstitions and complex religious beliefs, one that had been ravaged by famine and war. He also knew the tone of the area was horror because this had been outlined by Blacha and the leaders of The Witcher 3 team. Says Blacha: "My opinion is that a successful Witcher game is a mix of everything, so you have a horror line, you have a romance, you have adventure, you have exploration. When we started to think about our hubs, we thought about them in terms of a show, so No Man's Land, the hub with the Bloody Baron, was horror; Skellige was supposed to be an adventure; and Novigrad was supposed to be a big city investigation." But there were key missing pieces then from the Bloody Baron sequence we know today. The botchling, for instance - the monstrous baby the quest revolves around. It didn't exist. It was an idea that came from Sasko after he read a Slavic bestiary. "Yes," he says, "the botchling idea came from me." The Bloody Baron. | Image credit: Eurogamer / CD Projekt Red He wanted the botchling to be the conduit through which more mature themes of the story could be approached - something overt to keep you busy while deeper themes sunk in. It's an approach Sasko says he pinched from Witcher author Andrzej Sapkowski, after deconstructing his work. "What he's doing is he's trying to find universal truths about human beings and struggles, but he doesn't tell those stories directly," Sasko says. "So for instance racism: he doesn't talk about that directly but he finds an interesting way how, in his world, he can package that and talk about it. I followed his method and mimicked it." This way the botchling becomes your focus in the quest, as the Baron carries it back to the manor house and you defend him from wraiths, but while you're doing that, you're also talking and learning more about who the Bloody Baron - who Phillip Strenger - is. "I wanted you to feel almost like you're in the shoes of that Bloody Baron," Sasko says. "Peregrination is this path in Christianity you go through when you want to remove your sins, and that's what this is meant to be. He's just trying to do it, and he's going through all of those things to do something good. And I wanted the player to start feeling like, 'Wow, maybe this dude is not so bad.'" It's a quest that leaves a big impression. An email was forwarded to Sasko after the game's release, written by a player who had lost their wife and child as the Baron once had. "And for him," he says, "that moment when Baron was carrying the child was almost like a catharsis, when he was trying so badly to walk that path. And the moment he managed to: he wrote in his letter that he broke down in tears." There's one other very significant moment in The Witcher 3 that Sasko had a large hand in, and it's the Battle of Kaer Morhern, where the 'goodies' - the witchers and the sorceresses, and Ciri - make a stand against the titular menace of the Wild Hunt. Sasko designed this section specifically to emotionally tenderise you, through a series of fast-paced and fraught battles, so that by the time the climactic moment came, you were aptly primed to receive it. The moment being Vesemir's death - the leader of the wolf school of witchers and father figure to Geralt. This, too, was Sasko's idea. "We needed to transition Ciri from being a hunted animal to becoming a hunter," he tells me, and the only event big enough and with enough inherent propulsion was Vesemir's death. Eredin, the leader of the Wild Hunt, breaks Vesemir's neck. | Image credit: Eurogamer / CD Projekt Red But for all of the successful moments in the game there are those that didn't work. To the team that made the game, and to the players, there are things that clearly stand out. Such as Geralt's witcher senses, which allow him to see scent trails and footsteps and clues in the world around him. Geralt's detective mode, in other words. Sasko laughs as he cringes about it now. "We've overdone the witcher senses so much, oh my god," he says. "At the time when we were starting this, we were like, 'We don't have it in the game; we have to use it to make you feel like a witcher.' But then at the end, especially in the expansions, we tried to decrease it so it doesn't feel so overloaded." He'd even turn it down by a further 10 to 20 per cent, he says. There were all of the question marks dotted across the map, luring us to places to find meagre hidden treasure rewards. "I think we all scratch our heads about what we were thinking when trying to build this," Sasko tells me. "I guess it just came from fear - from fear that the player will feel that the world is empty." This was the first time CD Projekt Red had really the player's hand go, remember, and not controlled where in the world you would be. Shallow gameplay is a criticism many people have, especially in the game's repetitive combat, and again, this is something Sasko and the team are well aware of. "We don't feel that the gameplay in Witcher 3 was deep enough," he says. "It was for the times okay, but nowadays when you play it, even though the story still holds really well, you can see that the gameplay is a bit rusty." Also, the cutscenes could have been paced better and had less exposition in them, and the game in general could have dumped fewer concepts on you at once. Cognitive overload, Sasko calls it. "In every second sentence you have a new concept introduced, a new country mentioned, a new politician..." It was too much. More broadly, he would also have liked the open-world to be more closely connected to the game's story, rather than be, mostly, a pretty backdrop. "It's like in the theatre when you have beautiful decorations at the back made of cardboard and paper, and not much happens to them except an actor pulls a rope and it starts to rain or something." he says. It's to do with how the main story influences the world and vice versa, and he thinks the studio can be better at it. Ciri and Geralt look at a coin purse in The Witcher 3. This is, coincidentally, the same tavern you begin the game in, with Vesemir, and the same tavern you meet Master Mirror in. | Image credit: Eurogamer / CD Projekt Red One conversation that surprises me, when looking back on The Witcher 3, is a conversation about popularity, because it's easy to forget now - with the intense scrutiny the studio seems always to be under - that when development began, not many people knew about CD Projekt Red. The combined sales of both Witcher games in 2013 were only 5 million. Poland knew about it - the Witcher fiction originated there and CD Projekt Red is Polish - and Germany knew about it, and some of the rest of Europe knew about it. But in North America, it was relatively unknown. That's a large part of the reason why the Xbox 360 version of The Witcher 2 was made at all, to begin knocking on that door. And The Witcher 3, CD Projekt Red hoped, would kick that door open. "We knew that we wanted to play in the major league," says Michał Platkow-Gilewski, vice president of communications and PR, stealing a quote from Cyberpunk character Jackie. That's why The Witcher 3 was revealed via a Game Informer cover story in early 2013, because that was deemed the way to do things there - the way to win US hearts, Platkow-Gilewski tells me. And it didn't take long for interest to swell. When Platkow-Gilewski joined CD Projekt Red to help launch the Xbox 360 version of The Witcher 2 in 2012, he was handing out flyers at Gamescom with company co-founder Michał Kicinski, just to fill presentations for the game. By the time The Witcher 3 was being shown at Gamescom, a few years later, queues were three to four hours long. People would wait all day to play. "We had to learn how to deal with popularity during the campaign," Platkow-Gilewski says. Those game shows were crucial for spreading the word about The Witcher 3 and seeing first-hand the impact the game was having on players and press. "Nothing can beat a good show where you meet with people who are there to see their favourite games just slightly before the rest of the world," he says. "They're investing their time, money, effort, and you feel this support, sometimes love, to the IP you're working on, and it boosts energy the way which you can't compare with anything else. These human to human interactions are unique." He says the studio's leader Adam Badowski would refer to these showings as fuel that would propel development for the next year or so, which is why CD Projekt Red always tried to gather as many developers as possible for them, to feel the energy. It was precisely these in-person events that Platkow-Gilewski says CD Projekt Red lacked in the lead up to Cyberpunk's launch, after Covid shut the world down. The company did what it could by pivoting to online events instead - the world-first playtest of Cyberpunk was done online via stream-play software called Parsec; I was a part of it - and talked to fans through trailers, but it was much harder to gauge feedback this way. "It's easy to just go with the flow and way harder to manage expectations," Platkow-Gilewski says, so expectations spiralled. "For me the biggest lesson learned is to always check reality versus expectations, and with Cyberpunk, it was really hard to control and we didn't know how to do it." It makes me wonder what the studio will do now with The Witcher 4, because the game show sector of the industry still hasn't bounced back, and I doubt - having seen the effect Covid has had on shows from the inside of an events company - whether it ever will. "Gamescom is growing," Platkow-Gilewski says somewhat optimistically. "Gamescom is back on track." But I don't know if it really is. Michał Platkow-Gilewski cites this moment as one of his favourite from the Witcher 3 journey. The crew were at the game show PAX in front of a huge live audience and the dialogue audio wouldn't play. Thankfully, they had Doug Cockle, the English language voice actor of Geralt, with them on the panel, so he live improvised the lines. Watch on YouTube Something else I'm surprised to hear from him is mention of The Witcher 3's rocky launch, because 10 years later - and in comparison to Cyberpunk's - that's not how I remember it. But Platkow-Gilewski remembers it differently. "When we released Witcher 3, the reception was not great," he says. "Reviews were amazing but there was, at least in my memories, no common consensus that this is a huge game which will maybe define some, to some extent, the genre." I do remember the strain on some faces around the studio at launch, though. I also remember a tense conversation about the perceived graphics downgrade in the game, where people unfavourably compared footage of Witcher 3 at launch, with footage from a marketing gameplay trailer released years before it. There were also a number of bugs in the game's code and its performance was unoptimised. "We knew things were far from being perfect," Platkow-Gilewski says. But the studio worked hard in the years after launch to patch and update the game - The Witcher 3 is now on version 4.04, which is extraordinary for a single-player game - and they released showcase expansions for it. Some of Marcin Blacha's favourite work is in those expansions, he tells me, especially the horror storylines of Hearts of Stone, many of which he wrote. That expansion's villain, Master Mirror, is also widely regarded as one of the best in the game, disguised as he is as a plain-looking and unassuming person who happens to have incredible and undefinable power. It's not until deep into the expansion you begin to uncover his devilish identity, and it's this subtle way of presenting a villain, and never over explaining his threat, that makes Master Mirror so memorable. He's gathered such a following that some people have concocted elaborate theories about him. Lead character artist Pawel Mielniczuk tells me about one theory whereby someone discovered you can see Master Mirror's face on many other background characters in the game, which you can, and that they believed it was a deliberate tactic used by CD Projekt Red to underline Master Mirror's devilish power. Remember, there was a neat trick with Master Mirror in that you had already met him at the beginning of The Witcher 3 base game, long before the expansion was ever developed, in a tavern in White Orchard. If CD Projekt Red could foreshadow him as far back as that, the theory went, then it could easily put his face on other characters in the game to achieve a similar 'did you see it?' effect. The real villain in the Hearts of Stone expansion, Gaunter O'Dimm. Better known to many as Master Mirror. There's a reason why he has such a plain-looking face... | Image credit: CD Projekt Red The truth is far more mundane. Other characters in the game do have Master Mirror's face, but only because his face is duplicated across the game in order to fill it out. CD Projekt Red didn't know when it made the original Witcher 3 game that this villager would turn into anyone special. There was a tentative plan but it was very tentative, so this villager got a very villager face. "We just got a request for a tertiary unimportant character," says Mileniczuk. "We had like 30-40 faces for the entire game so we just slapped a random face on him." He laughs. And by the time Hearts of Stone development came around, the face - the identity - had stuck. Expansions were an important part of cementing public opinion around The Witcher 3, then, as they were for cementing public opinion around Cyberpunk. They've become something of a golden bullet for the studio, a way to creatively unleash an already trained team and leave a much more positive memory in our heads. Exactly what went wrong with Cyberpunk and how CD Projekt Red set about correcting it is a whole other story Chris Tapsell told recently on the site, so I don't want to delve into specifics here. Suffice to say it was a hard time for the studio and many hard lessons had to be learned. "The pressure was huge," Platkow-Gilewski says, "because from underdogs we went to a company which will, for sure, deliver the best experience in the world." But while much of the rhetoric around Cyberpunk concerns the launch, there's a lot about the game itself that highlights how much progress the studio made, in terms of making open-world role-playing games. One of my favourite examples is how characters in Cyberpunk walk and talk rather than speak to you while rooted to the spot. It might seem like a small thing but it has a transformative and freeing effect on conversations, allowing the game to walk you places while you talk, and stage dialogue in a variety of cool ways. There's a lot to admire about the density of detail in the world, too, and in the greater variety of body shapes and diversity. Plus let's not forget, this is an actual open world rather than a segmented one as The Witcher 3 was. In many ways, the game was a huge step forward for the studio. Cyberpunk wasn't the only very notable thing to happen to the Witcher studio in those 10 years, either. During that time, The Witcher brand changed. Netflix piggybacked the game's popularity and developed a TV series starring Henry Cavill, and with it propelled The Witcher to the wider world. Curiously, CD Projekt Red wasn't invited to help, which was odd given executive producer Tomek Baginski was well known to CD Projekt Red, having directed the intro cinematics for all three Witcher video games. But beyond minor pieces of crossover content, no meaningful collaboration ever occurred. "We had no part in the shows," Pawel Mileniczuk says. "But it's Hollywood: different words. I know how hard it was for Tomek to get in there, to convince them to do the show, and then how limited influence is when the production house sits on something. It's many people, many decision makers, high stakes, big money. Nobody there was thinking about, Hey, let's talk to those dudes from Poland making games. It's a missed opportunity to me but what can I say?" The debut trailer for The Witcher 4.Watch on YouTube Nevertheless, the Netflix show had a surprisingly positive effect on the studio, with sales of The Witcher 3 spiking in 2019 and 2020 when the first season aired. "It was a really amazing year for us sales wise," Platkow-Gilewski says. This not only means more revenue for the studio but also wider understanding; more people are more familiar with The Witcher world now than ever before, which bodes very well for The Witcher 4. Not that it influenced or affected the studio's plans to return to that world, by the way. "We knew already that we wanted to come back to The Witcher," Platkow-Gilewski says. "Some knew that they wanted to tell a Ciri story while we were still working on Witcher 3." But, again, with popularity also comes pressure. "We'll have hopefully millions of people already hooked in from the get-go but with some expectations and visions and dreams which we have to, or may not be able to, fulfil," Platkow-Gilewski adds. You can already sense this pressure in comments threads about the new game. Many people already have their ideas about what a new Witcher game should be. The Witcher 4 might seem like a return to safer ground, then, but the relationship with the audience has changed in the intervening 10 years. "I think people are again with us," Platkow-Gilewski says. "There are some who are way more careful than they used to be; I don't see the hype train. We also learned how to talk about our game, what to show, when to show. But I think people believe again. Not everyone, and maybe it's slightly harder to talk with the whole internet. It's impossible now. It's way more polarised than it used to be. But I believe that we'll have something special for those who love The Witcher." Here we are a decade later, then, looking forward to another Witcher game by CD Projekt Red. But many things have changed. The studio has grown and shuffled people around and the roles of the people I speak to have changed. Marcin Blacha and Pawel Mielniczuk aren't working on The Witcher 4, but on new IP Project Hadar, in addition to their managerial responsibilities, and Pawel Sasko is full-time on Cyberpunk 2. It's only really Michał Platkow-Gilewski who'll do a similar job for The Witcher 4 as on The Witcher 3, although this time with dozens more people to help. But they will all still consult and they're confident in the abilities of The Witcher 4 team. "They really know what they're doing," says Sasko, "they are a very seasoned team." "We learned a lot of lessons down the road," Platkow-Gilewski says, in closing. "I started this interview saying that we had this bliss of ignorance; now we know more, but hopefully we can still be brave. Before, we were launching a rocket and figuring out how to land on the moon. Now, we know the dangers but we are way more experienced, so we'll find a way to navigate through these uncharted territories. We have a map already so hopefully it won't be such a hard trip."

With the expected release of the iPhone 17 Air later this year and the recent release of the S25 Edge from Samsung, it looks like the theme of 2025 is all about thinness. Companies are doing all they can to flex their design and physics-defying muscles to show off just how thin they can make products without sacrificing significant features. Now, accessories companies are getting in on the fun, and Kuxiu’s new X41Q charger is impressively thin while staying efficient and powerful. Here is what you need to know! Specs and what’s in the box For how thin this charger is, its impressive how much they were able to include in terms of charging abilities. This is a true 3 in 1 fast charger. You get: Qi2 wireless charging to charge at 15W 5W AirPods charging pad Fast charging Apple Watch charger So you can charge your big three at fast wireless speeds. But the beauty of this is that you also get a 45W charging brick and braided USB-C to USB-C cable in the box. In 2025, that’s unheard of! Design The design of this charger has to be one of my favorites. If you are old enough to remember, it reminds of the old Samsung Blade flip phone from back in the day. But it is made of anodized aluminum and comes in either grey or natural titanium colors. It has a foldable design, so it’s easy to tuck away in any bag, purse, or even your pocket. At its thinnest point, this charger is just over 4mm thin! That’s thinner than the insanely thin iPad Pro or any other Apple product, for that matter. Due to its design and hinge, you can use this in so many ways. You can use it flat on a table, prop it up and use it as a stand, it supports stand-by mode, and you can even fully unfold it past 180 degrees if needed. So this can be a travel charger, a desk charger, or even a selfie stick. My thoughts I think this charger is a great option for anyone who wants something that can be used on a desk or nightstand but can also be folded up and taken on the go. The magnets are insanely strong, even without a case on my iPhone. It charges at the 15W speeds to make sure I get power quickly, it does not overheat, and, as I said, it brings a charging brick! The fact that it supports standby mode is also a nice plus. The last nice perk is that since its so light and can be folder, you can just grab your phone while on the charger and use it while its being charged. I, for one, am here for this new thin tech wave. Pricing and availability This is Kuxiu’s newest Qi2 charger, which is available today on their website for $74.99. It’s available in two colors: Gray or Natural Titanium. This is now my wife’s travel charger of choice because it fits in any scenario. What do you think of this charger? Are you excited about the thinness of the tech coming? Let’s discuss! Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel

A Hydro Flask makes it easier to drink more water. Credit: Amazon / Mashable Photo Composite Deal pricing and availability subject to change after time of publication. Learn more about how we select deals. SAVE $9.99: As of May 21, get the Hydro Flask 24-ounce Travel Bottle for $29.96 at Amazon, down from its usual price of $39.95. That's a discount of 25% and the lowest price we've seen. Opens in a new window Credit: Amazon Hydro Flask 24-ounce Travel Bottle $29.96 at Amazon $39.95 Save $9.99 You're probably always hearing that you should drink more water. If you're struggling to drink as much as is necessary for you to see a marked improvement in how you feel (or how good your skin can look), you might want to invest in something that makes it a little easier. That could mean a stylish Hydro Flask, which you can get on sale right now. As of May 21, get the Hydro Flask 24-ounce Travel Bottle for $29.96 at Amazon, down from its usual price of $39.95. That's $9.95 off and a discount of 25%. It's also the lowest price we've seen. Mashable Trend Report: Coming Soon! Decode what’s viral, what’s next, and what it all means. Sign up for Mashable’s weekly Trend Report newsletter. By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! You May Also Like This lightweight cup can keep your water ice cold for up to 24 hours, thanks to its double-wall vacuum insulation. Most importantly for many of us, it's also leakproof when closed, so you can toss it in a bag or a purse and it won't get jostled around and spill everywhere. It also fits most cupholders, so it's good to go when you get in a car and need a place to stow it. Some bottles have openings to drink out of, but this Hydro Flask has a straw, so you can feel like you're casually sipping if that makes it easier for you to want to drink more, too. Plus, it comes in multiple colors, so you can make your new emotional support water bottle truly your own. Best Memorial Day Deals Apple AirPods Pro 2 ANC Earbuds With USB-C Charging Case — $199.00 (List Price $249.00) Fire TV Stick 4K Streaming Device With Remote (2023 Model) — $29.99 (List Price $49.99) Blink Mini 2 Indoor Wireless 1080p Camera (2-Pack) — $37.99 (List Price $69.99) Kodak Mini 2 Retro Instant Photo Printer With 68 Sheets Bundle — $89.99 (List Price $139.99) Apple Watch Series 10 (GPS, 42mm, Sports Band) — $299.00 (List Price $399.00) Samsung Galaxy S25 Edge 256GB Phone With $50 Amazon Gift Card (Pre-Order) — $1,099.99 Ring Floodlight Cam Wired Plus (2021 Release) — $119.99 (List Price $179.99) Ultraloq U-Bolt Pro 8-in-1 Wi-Fi Smart Lock With Fingerprint ID — $139.99 (List Price $179.99) Aiper Scuba S1 Cordless Robotic Pool Cleaner (2024 Model) — $499.99 (List Price $699.95) Shark AV2511AE AI Robot Vacuum With XL Self-Empty Base — $349.99 (List Price $599.00) Brittany Vincent Brittany is fueled by horror, rainbow-sugar-pixel-rushes, and video games. Until her dying breath she'll be wielding a BFG made entirely of killer drive and ambition. Check out her work at PfhorTheWin.com. Like a fabulous shooter once said, get psyched!

It's a gown. It's a skirt. It's $148 and strangely controversial.I'm talking about the 2-in-1 maxi dress from Lululemon, which, in all fairness, you might not have ever noticed.The garment is extremely understated and more ideal for a walk on the beach than a workout class. There's a good chance you've scrolled past it while shopping for new leggings on the brand's website.Fashion fans, however, can't seem to talk about anything other than the stretchy shift right now. The Lululemon dress worn as a dress (left) and folded into a skirt (right). Lululemon Lululemon sells everyday clothes. You just might not have noticed.At its core, Lululemon is an athletic brand. Its Align leggings brought the company fame, and its sweat-repelling pieces have become massive in different sports communities.Even its everyday staples, like the belt bags teens carry instead of purses and the ABC joggers professional men wear to the office, can be used for sport.So, Lululemon's maxi dress might seem like an anomaly. It's designed simply to be worn as part of a cute outfit, not an active ensemble."I still can't comprehend how this dress is from Lululemon," one TikToker captioned her video about the garment.It's really not an outlier, though. Lululemon has been selling maxi dresses and other casual staples for years. They're just sleeper hits. @gracegerhardt this dress deserves all the hype it’s getting @lululemon @lululemon Studio #lululemon #lululemonhaul #thneeddress #lululemondress #lululemonaddict ♬ original sound - billslyric This specific strapless dress can be worn as a skirt when its top is folded over the hips. It's sold in four colors — light ivory, black, lava cake, and raceway green — and sizes between XXXS and XL.Many of the sizes are now sold out across colorways, and it's unclear if the brand will restock.Representatives for Lululemon didn't respond to a request for comment from Business Insider.Cute, but costlyAs is the nature of the internet, the very existence of the simple dress has been debated. Over the past two weeks, dozens of videos tagged #lululemondress have been posted to TikTok. Many have raved about its soft texture, saying the dress contours your body and fits like a dream. Its versatility is also a big draw. @gatgies just ordered this in another color, i’m obsessed! @lululemon #maxidress #maxiskirt #2in1 #convertible #lululemon #springdress #summerdress ♬ water (instrumental) - no/vox & karaokey Others, however, said its design is way too basic and overpriced, retailing for $148.Though the dresses are made from a mix of fabrics, including silk and Lenzing Modal, they also contain nylon and Lycra elastane, which some shoppers dislike for being unsustainable and plastic."It's not that it's ugly, it's just not $150 type of cute," one TikToker wrote."Ok but if you saw it at Walmart, would you buy it??" another TikTok user said.Some people are so bothered by the dress that they've even compared it to a "thneed," the fictional, trendy garment mentioned in "The Lorax." The comparison has made the dress even more viral, with shoppers debating if Lululemon's garment fits the bill.I'm here to tell you that comparison is not accurate at all.After all, Lululemon's dress does not look like a stretched-out sweater, like a thneed does, and it can't be worn as a sock, hat, or sweatshirt, like a thneed can.Now, is the dress worth $148 of your hard-earned money, or the time and effort it will take to find one in your size right now? That's for you to decide.

Proposed U.S. budget cuts raise fears about tech innovation President Donald Trump's proposed FY 2026 budget slashes funding for federal agencies, including NSF and NIST, which support tech... RIT showcase offers glimpse of early tech innovation cycle Connected vehicle security, AI and 3D printing were among the technologies featured at Imagine RIT, an annual exhibition focusing... Contempt order worsens Apple's antitrust woes A federal judge found Apple to be in contempt of an injunction ordering the company to make access to alternative payment options...

There are two types of portable MagSafe batteries: ones designed for a weekend camping trip and ones designed to get you through a heavy single day. I recently picked up the BENKS ArmorGo, and it’s a great option for your everyday carry (EDC) kit. It’s slim enough to fit in your pocket but big enough to get the job done. MagSafe Monday: Every Monday, Bradley Chambers looks at the latest and greatest in the MagSafe and wireless charging industry to help you get the most out of your Apple devices that support wireless charging. Design What sets the BENKS ArmorGo apart from other MagSafe batteries is the aramid fiber texture. It not only looks really nice, but gives the it a strong, grippy feel that helps it stay in place while in your hand or pocket. It really makes it easy to pull out of your pocket. At just 0.34 inches thick and weighing only 4.3 ounces, it’s one of the thinnest and lightest MagSafe batteries I’ve tested. It slides easily into a back pocket or a purse without adding bulk. BENKS ArmorGo Charging speed and capacity At 5000mAh in terms of battery capacity, the BENKS ArmorGo hits the sweet spot for everyday use. It’s not designed for multi-day power, but it’s perfect for getting through a long travel day or a nonstop work schedule. It can charge my iPhone 15 Pro from nearly dead to around 50% in about 30 minutes using MagSafe, which is plenty to keep you going until you can get a wired charge again. Overall, It’s fast, reliable, and doesn’t get very hot while charging. Wrap up The BENKS ArmorGo is a great pick if you want a compact battery that punches above its weight. The strong N52 magnets keep it locked in place while wirelessly charging your iPhone, and it’s just as handy for quickly topping off your AirPods, Kindle Paperwhite, or even a Nintendo Switch with a USB-C cable. While it doesn’t have built-in wired charging, the wireless experience is solid, and the 5000mAh capacity is right in the zone for daily carry. The aramid fiber texture gives it a high-end look and feel while making it easier to grip. It’s lightweight and ultra-thin and slides into just about any pocket or pouch without getting in the way. If you’re building out your EDC kit or just want something simple that works, this one’s worth a look. The BENKS ArmorGo can be purchased from Amazon or directly from BENKS. Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel

Published May 18, 2025 10:00am EDT close Google's AI unleashes new powerful scam-busting features for Android The CyberGuy explains steps you can take to protect yourself from scams. Once considered an old-fashioned crime, check washing has roared back to life with alarming sophistication. Criminals are not just targeting personal checks anymore. They  are exploiting every vulnerability in the mailing and banking system to cash in on stolen funds. As check fraud incidents continue to rise sharply across the country, it is more important than ever to understand how check washing works and what you can do to protect yourself. Here is what you need to know to stay ahead of the scammers.JOIN THE FREE CYBERGUY REPORT: GET MY EXPERT TECH TIPS, CRITICAL SECURITY ALERTS, AND EXCLUSIVE DEALS — PLUS INSTANT ACCESS TO MY FREE ULTIMATE SCAM SURVIVAL GUIDE WHEN YOU SIGN UP! A pen placed on top of a blank check  (Kurt "CyberGuy" Knutsson)What is check washing fraud?Check washing fraud happens when a scammer steals a check you have written, erases the ink using chemicals like acetone or nail polish remover, and rewrites it to a new recipient. Often, they will change the amount to something much higher. The altered check is then deposited or cashed, and the funds are drained from your account before you even realize something is wrong.Why it's dangerous:Check washing does not require much technical skill.It can happen with checks you leave in your outgoing mail.Even mailed bill payments are vulnerable if not handled securely.FBI WARNS OF SCAM TARGETING VICTIMS WITH FAKE HOSPITALS AND POLICEUnlike digital fraud, check washing often goes unnoticed until long after the damage is done. Because checks can take days or even weeks to clear through the banking system, criminals have plenty of time to deposit altered checks and move funds before victims realize anything is wrong. By the time the missing money is discovered, tracing it back to the scammer can be extremely difficult. This delay makes it critical to monitor your accounts closely and act quickly if you spot any suspicious activity. Illustration of check fraud in progress  (Kurt "CyberGuy" Knutsson)How check washing has gotten worseSince 2023, check fraud has exploded in the United States.Financial institutions filed 665,000 suspicious activity reports (SARs) related to check fraud in 2023, which is a 134% increase compared to 2020.A 2024 Federal Reserve survey showed that check fraud now accounts for 30% of all fraud losses, second only to debit card fraud.Between February 2023 and August 2023 alone, Americans lost over $688 million to mail theft-related check fraud.The surge in fraud reports reflects more than just isolated criminal acts. Organized crime rings are increasingly turning to check washing as a hybrid crime, blending old-school mail theft with new digital tools like AI. Fraudsters now use advanced technologies to forge identities, alter check images and exploit gaps in banking security, making check washing more sophisticated than ever. As financial institutions strengthen cybersecurity defenses, scammers are targeting physical mail systems as a weaker link to bypass digital barriers.Real examples:Six people were charged with attempting to steal $80 million through fraudulent checks tied to COVID-19 relief funds.In Florida, a former mail carrier pleaded guilty to attempting to sell USPS arrow keys and stolen checks totaling nearly $550,000 to an undercover agent, leading to his arrest and confession.sNew tricks criminals are usingFraudsters have adapted their methods to stay ahead of law enforcement and banks.Mobile deposit fraud: Criminals alter check images or deposit the same check into multiple accounts.Synthetic identity fraud: Scammers create fake identities using AI-generated documents to open accounts and cash stolen checks.Business Email Compromise (BEC): Attackers impersonate executives or vendors to convince companies to send checks to fraudulent accounts.Criminals are combining old techniques like mail theft with new digital strategies, making check washing harder to recognize and prevent without proactive security measures. Recent advancements in AI technology have made it easier for scammers to forge realistic-looking documents, generate convincing fake identities and create sophisticated phishing emails. AI-generated fake IDs and altered check images can pass basic verification checks that would have caught manual forgeries in the past. This shift means check fraud is no longer just a matter of stealing a physical check, but exploiting digital vulnerabilities at every stage of the banking process. A person going over a bank statement (Kurt "CyberGuy" Knutsson)How to protect yourself from check washing fraudHere are 14 essential protective measures to shield yourself from check washing scams.1. Use a black gel pen: When writing checks, always use a black gel pen. The ink is much harder to remove compared to regular ballpoint pen ink.2. Bring checks directly to the post office when mailing them: If using a mailbox, make sure to drop off your mail before the final scheduled pickup so it is not left sitting overnight.3. Sign up for USPS Informed Delivery: Stay ahead by signing up for USPS Informed Delivery. You will receive digital previews of incoming mail so you can monitor for any missing items early. Learn more about why it's important here.4. Monitor your bank accounts: Set up real-time alerts for check clearing and review your statements weekly to catch any suspicious activity. Also, ask your bank about any other fraud-prevention tools they offer to protect your accounts.5. Switch to digital payments when possible: Use your bank’s mobile app to deposit checks without mailing or physically delivering them, reducing the risk of theft or tampering.6. Use checks with built-in security features: Choose checks printed on paper with watermarks, chemical-sensitive coatings or other security features that make check washing much harder.7. Limit the information on checks: Avoid unnecessary personal details. Do not print your Social Security number, driver’s license number or phone number on your checks. The less information available, the less a fraudster can use.HOW CYBERSCAMS ARE DRAINING AMERICANS WALLETS BY THE BILLIONS8. Store checks securely: Keep blank checks in a safe place. Store your checkbook in a locked drawer or safe, not in your purse, car or an easily accessible location at home.9. Check your mailbox security: Install a locking mailbox. If possible, use a mailbox with a lock to prevent thieves from stealing outgoing or incoming mail.10. Be cautious with endorsements: When endorsing checks, write "For Deposit Only" along with your account number to prevent others from cashing the check.11. Enroll in identity theft protection with check fraud specialization: Choose services that specifically monitor for compromised check details on dark web marketplaces and alert you to suspicious check-cashing patterns. Identity theft protection services monitor your personal data across the dark web and public databases, alert you to suspicious activity and assist you in locking down your accounts if needed. See my tips and best picks on how to protect yourself from identity theft.12. Invest in personal data removal services: Minimize exposure of sensitive details (like addresses or banking affiliations) that fraudsters could exploit for check-washing scams. Removing your personal information from these sites can help reduce your risk of becoming a victim. While no service can guarantee the complete removal of your data from the internet, a data removal service is really a smart choice. They aren’t cheap and neither is your privacy.  These services do all the work for you by actively monitoring and systematically erasing your personal information from hundreds of websites. It’s what gives me peace of mind and has proven to be the most effective way to erase your personal data from the internet. By limiting the information available, you reduce the risk of scammers cross-referencing data from breaches with information they might find on the dark web, making it harder for them to target you. Check out my top picks for data removal services here. 13. Shred sensitive documents: Shred old checks and bank statements. Don’t just throw them away. Shred any documents with sensitive banking information.14. Report suspicious activity immediately: If you suspect check fraud or missing mail, report it to your bank and the U.S. Postal Inspection Service right away.15. Use Positive Pay if you are a business: Positive Pay is a fraud prevention service offered by most banks to business customers. It works by matching the checks you issue with the ones presented for payment. If something doesn’t add up, like a changed amount or payee, the bank flags it for your review before it’s processed. You usually need to sign up through your bank, and there might be a fee, but it’s a smart way to protect your business from check fraud, especially if you write a lot of checks.What to do if you are a victimIf you think you have been targeted by check fraud:Report it to your bank immediately and freeze your account if necessary.Contact the USPS Postal Inspection Service to report stolen mail.File a complaint with the Better Business Bureau (BBB) or at IdentityTheft.gov.Time matters. The faster you act, the better your chances of recovering lost funds.Kurt’s key takeawaysCheck washing fraud is growing rapidly, and criminals are becoming more organized and sophisticated. Simple habits like using gel pens, securing your mail and monitoring your financial accounts closely can make a big difference. Services like USPS Informed Delivery, Positive Pay for businesses and personal data removal tools provide added layers of protection. Identity theft protection services can also offer critical support if you ever become a victim of check fraud.CLICK HERE TO GET THE FOX NEWS APPHave you or someone you know experienced check fraud? Let us know by writing us at Cyberguy.com/ContactFor more of my tech tips and security alerts, subscribe to my free CyberGuy Report Newsletter by heading to Cyberguy.com/NewsletterAsk Kurt a question or let us know what stories you'd like us to coverFollow Kurt on his social channelsAnswers to the most asked CyberGuy questions:New from Kurt:Copyright 2025 CyberGuy.com.  All rights reserved.   Kurt "CyberGuy" Knutsson is an award-winning tech journalist who has a deep love of technology, gear and gadgets that make life better with his contributions for Fox News & FOX Business beginning mornings on "FOX & Friends." Got a tech question? Get Kurt’s free CyberGuy Newsletter, share your voice, a story idea or comment at CyberGuy.com.

Disneyland is turning 70 this summer, and festivities begin this weekend at Walt Disney’s first theme park. While past anniversaries emphasized a throwback to opening day nostalgia, this milestone wants to bring the party energy like no other. Thankfully, that doesn’t mean turning the castle into a Birthday cake, but the zany fun comes in the form of mix-taping the greatest hits with the latest number ones from the studio. After attending the media week preview at the Disneyland Resort, that’s what we loved about this year’s theme. The unabashed excitement for so many characters, from the fairytale Disney Princesses, The Muppets and Star Wars icons to the niche like Duffy the Disney Bear and A Goofy Movie. There were also incredible moments as well, including new Pixar and Disney animation faves Inside Out, Turning Red, Encanto and Moana all over the resort’s 70th offerings. It’s certainly celebration of cartoon chaos and we welcome Robot Walt’s imminent arrival in July to coincide with the actual anniversary of the opening date of the park. Some of the best things we found at the event were discovered on their own. When I wandered around Disney California Adventure I stumbled upon the most unhinged Disneyland 70 merchandise. And it confirmed that Disney really got all of its various types of fans when I looked upon the face of an official googly-eyed Mickey Mouse shirt, and a spinner-top colorful baseball cap. Yes, there’s the glam Loungefly Minnie ears and purses and Disney trendy lifestyle spirit jerseys, but the zany and bizarre get representation too. What’s hilarious is that those items weren’t made with meme comedy in mind, but actually straight from the Disney Vault of yester-merchandise. © io9 Gizmodo And just across the way at the Animation building, a new set of visuals debuted in the musical lobby which highlighted added moments from Coco, Moana, Encanto, The Princess and the Frog, and Zootopia. When I need a time to just bask in the magic of animation while staying out of the heat, this is where I (like so many others) go, and it’s such an underrated gem that rarely gets a refresh–not since the release of Frozen! And the Encanto representation at DCA didn’t stop there–while we love “We Don’t Talk About Bruno”, I’m glad to get a break from it to let the other amazing songs shine. In the new World of Color: Happiness, Anxiety from Inside Out 2 (my rising sun sign of the emotions) presents a great sequence where Luisa’s “Surface Pressure” gets a moment on the water, and it was so cool to hear everyone sing along. Hot take: it’s the better song between it and Bruno. The Muppets opener for the show is an all-timer, too, with a muppety death defying act from Gonzo the Great. World of Color: Happiness also finally featured a kaiju-sized Panda Mei on the mist screen projections set to “Nobody Like You” which led into the best in-universe run of real fake Disney pop hits, right into a Powerline moment from “A Goofy Movie”. The beat drop on “I2I” sent the crowds into a frenzy as Powerline electrified the stage like we were really at the show with the Goofs. We are loving the Max Goof inclusion too, as he joins his dad over at Disneyland for the Celebrate Happy Character Calvacade parade, right behind Duffy and ShellieMay Bear leading the way. I know they’re tossing around all the different nomenclatures around “Happy”, but this was for those of us who are into the offbeat or niche things of the Disney fandom. © io9 Gizmodo For Star Wars fans, there’s even a new R2 unit available at Droid Depot, with exteriors to match the pinks, purples, blues and yellow of the 70th. And we also took a peek at the new scrap pieces that debuted earlier this month for May the Fourth at Savi’s lightsaber build experience. The ombre chrome look of the blaster emitter is a fierce need. Unfortunately, these pieces aren’t individually available for those who have already built their lightsabers for over 200 bucks–if you want to cop these parts you’ll have to try to get in on the limited time action with another whopping purchase before they’re gone. © io9 Gizmodo Paint the Night, the rave-inspired answer to the Electrical Parade is back and we got to see it near the Small World promenade with a special new projection show on the ride’s facade. Spooky and bizarro Disney lore fiends got a treat here with a fun Grim-Grinning Ghosts montage right into “Hellfire” from The Hunchback of Notre Dame with Mr. Toad crazy eyes, the crone Evil Queen and Frollo giving children some gateway frightful imagery that they’ll obsess over later in life. At the end of my second night, it capped off with Wondrous Journeys which takes the pages of countless animation cells and brings them to life on the Disneyland Castle walls showcasing the stories that have spoken to generations for 100 years. It really does feel like Disney wanted to reach far and wide for the park’s big anniversary this year–and not be afraid to get a little zany in the process. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.