Harary recalls his own youthful misstep , attempting to recreate Doug Henning ’ s shadow box illusion without understanding the ethical implications . “ It wasn ’ t right , but I get it . If they realize they ’ re copying and eventually move beyond it , learning and growing , it ’ s part of the process .” For Harary , the line is clear : emulation can foster growth , but blatant theft stifles the art form .

The real issue arises when the theft is deliberate and financially motivated . “ Most of my designs require substantial investment — engineering , tech , the whole works . When my stuff gets ripped off , it ’ s not by a 14-year-old . It ’ s by someone who knows better .” The financial and emotional toll is considerable . Harary maintains an ongoing legal battle mounted by his attorney of over two decades , Tom Meyer , issuing countless cease-anddesist letters globally . “ It ’ s a full-time gig tracking these guys down . It costs me money in legal fees , but it ’ s necessary .”

Yet , amidst the frustration , there are rare , redeeming stories . Harary recounts an encounter with a young , Steve Chezaday when he was in his early 20s , who unknowingly replicated Harary ’ s “ Slicer ” illusion . Upon confrontation , Chezaday