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Most 3D, character-driven video games

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can be pretty easily placed
into one of two categories:

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either first person or third person.

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00:00:08,890 --> 00:00:10,550
In a first-person game,
you see the game world

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through the actual eyes
of the player character

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as though you were that character,

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and in a third-person game,
you see the player character

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from the outside - often
from behind their back

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or from a fixed isometric perspective.

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But the existence of
these two perspectives

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begs a question:

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if this is what a
first-person game looks like,

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and this is what a third-person
video game looks like...

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what exactly would
second-person look like?

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Now, I'm not the first
person to wonder about this -

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the question of whether or not

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a second-person shooter
could actually exist

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is one that has plagued
video game message boards

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just about as long as
the Internet has existed.

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It's also served as the premise

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for some pretty good comedy
sketches over the years,

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like this one from Mega64:

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- [Announcer] Introducing the world's

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first second-person shooter.

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(video game music)

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(rock music)
- No no no no!

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- And this one from The Onion.

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- To enter second-person shooter mode,

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you just simply adjust
the narrative slider

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from first to second.

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- You are walking down a long corridor.

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Suddenly, a Nazi leaps out
from around the doorway

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and unleashes a hail of machine
gun fire in your direction.

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- But to help us actually figure out

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what a second-person game would really be,

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I think it would be helpful
to look at this grammatically.

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In written language, the term "first person"

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denotes any writing
where the point of view

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uses phrases like "I" or m"y"

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to tell the story from the
perspective of the protagonist.

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Third-person writing, on the other hand,

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uses third-person pronouns -

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for example, "he went this way,"
"she went that way," et cetera -

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to talk about characters
from an outside perspective.

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Now, second-person writing does exist,

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but it's kind of a weird one -

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in second person, the
primary pronoun used is "you."

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"You do this," "you go there," et cetera.

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The second person is
actually a lot less common

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in narrative writing,

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and it's actually something
you're more likely to encounter

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in, say, a list of instructions

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or a choose-your-own-adventure book.

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Now, the analogous video
game camera perspectives

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for first and third-person
writing are obvious -

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but what about for second-person?

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We know what an "I" game looks like

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and we know what a "he" game looks like,

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but what about a "you" game?

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Strangely enough, I actually
found the answer to this

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before I even came up with the question,

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and, believe it or not, it
came to me courtesy of a game

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you may have heard me
talk about once before -

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and that game is Driver: San Francisco.

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See, for all the interesting missions

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in Driver: San Francisco -
and there are plenty of them -

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there's one mission in particular

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that I swear to God I
think about all the time.

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The mission in question
is called "The Target"

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and it's the final mission
of chapter six of the game.

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In the game, you play as
a cop named John Tanner

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who, for reasons I won't get into here,

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basically has a superpower that allows you

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to take over the bodies
of any other driver,

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and has begun using that superpower

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to foil a possible terror plot

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from a gangster named Jericho.

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Over the course of the game Tanner decides

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that the best way to
unravel Jericho's plans

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is to do it from the inside,

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and in order to do that,
Tanner takes over the body

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of a low-level henchman named Ordell

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and uses his driving skills

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to help move Ordell up the ranks.

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The final mission in this story arc

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sees you inhabiting
Ordell's body one last time

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to complete a major assignment
from his boss Leila,

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who is this international assassin

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and Jericho's second-in-command.

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Tanner's plan?

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Warp into Ordell's body and,
without arousing suspicion,

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drive Leila and Ordell
directly into police custody.

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Now, the mission begins as normal

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with Tanner and his partner Jones

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driving their iconic
orange Dodge Challenger,

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and soon enough, you
warp into Ordell's body

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with Leila in the passenger seat

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where she gives you some
clarity on the mission.

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(car engine roaring)

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- [Leila] Ordell, I need
nothing but your best today.

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- [Tanner] What's going down?

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- [Leila] Jericho's got
a problem he wants fixed.

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Get me to the target and I'll fix it.

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- So you drive to the destination

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she's given you, closing
in on your target,

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and as you get close, this happens:

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(car engine roaring)

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- Slow down.

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We should acquire the target any time now.

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(car engine roaring)
(tires screeching)

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The yellow Dodge, up ahead.

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Stay close but don't be obvious.

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- ...that's my car.

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- What?

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That's the cop that's
been getting in our way.

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- Do we follow him to the target?

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- ...he IS the target.

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- [Narrator] It's you.

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You've been assigned to kill... you.

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(music)

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Now, after that cutscene ends,

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you are back in Ordell's
body in the first person

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with Leila sitting to your right.

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But then... you press the
throttle to accelerate,

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and the car in front of you moves.

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You steer to the left and to the right...

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and the car in front of you moves

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to the left and then to the right.

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And then, quickly, it sinks in
that the car you're controlling

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is actually the car you're following.

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Your perspective as the
player is entirely separate

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from what you're
controlling as the player.

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In other words, you're pursuing... you.

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Now, as you can see, the
car that you're sitting in

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is moving, too - but, crucially,

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you're not the one who's
controlling that car.

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The car you're sitting in
is moving automatically,

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seemingly operated by
an AI-controlled driver

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who's tailing the car
you're actually controlling.

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It's basically like a chase
mission in any other video game

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just like you've seen
countless other times -

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except for this time,
it's flipped on its head.

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This time, you're the one being followed,

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while simultaneously seeing it all unfold

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from the perspective of the
car doing the following.

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And while it's hard for me to guess

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how well this comes across on video,

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all these elements
combine to make something

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that is very, very odd to play.

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There's something
shocking and disorienting

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about seeing a first-person
perspective on your screen

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but also not controlling that perspective

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while remotely operating
the car that you're tailing.

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It's the closest a video
game has ever gotten

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to feeling like a true
out-of-body experience,

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and it's an experience
that has stuck with me

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ever since I first played
this game back in 2011.

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Now, when I first played
Driver: San Francisco

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eight years ago,

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I kinda just played
through this mission once,

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start to finish, marveling
at the unique perspective

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that this mission granted you,

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but then moving on to
the rest of the game.

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But I've always felt like if
I ever came back to this game,

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I'd wanna pick this mission apart

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and see what makes it tick,

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and that's part of what
I hope to accomplish

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with this video.

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See, as cool as this mission
is, it's also pretty linear.

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The whole thing takes
place with you driving down

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this completely locked-down race course

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with no exits or detours -

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pretty much just a
straight shot to the exit.

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I've always assumed that
the developer Reflections

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designed this mission this way

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due to the technological limitations

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of this weird second-person camera

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that they built just for this mission.

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Perhaps there was no way
for them to get this camera

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to behave properly in
the actual open world

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with all the various streets, elevations,

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and alleyways you could dip into -

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not to mention the other street traffic.

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And on top of that,
they built this mission

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with a pretty strict countdown timer,

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forcing you to hit the
checkpoints in rapid succession -

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something that I've always
assumed was placed there

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to keep you from ever
veering too far off the path

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and breaking the game somehow.

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Still, I've always wondered about

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the actual limitations of this mission,

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and I knew that this time
around I wanted to test out

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whether or not there
was any way to escape -

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so before finishing the mission, I paused,

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started it over, and then this time,

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instead of starting the race as intended,

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I swung the car into a 180,

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driving the car backwards
in the wrong direction.

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Now, when I do this, the AI driver

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immediately begins panicking,

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rapidly spinning the steering wheel

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trying desperately to
keep my car visible in frame,

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and then eventually, it
turns around 180 degrees

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to reveal what looks like
the entire open world

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of Driver: San Francisco -

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seemingly 100% accessible to the player.

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Now I drove away from the
racetrack and began exploring,

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00:07:00,120 --> 00:07:03,110
and I kept bracing myself to
hit some kind of invisible wall

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or failure state for going off course,

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but it never happened.
It all actually worked.

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I merged into traffic

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and the second-person camera followed me,

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immaculately bobbing and weaving

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00:07:12,570 --> 00:07:14,120
through the other cars on the road.

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00:07:14,120 --> 00:07:15,700
It was around this time that
I noticed...

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00:07:15,700 --> 00:07:16,880
there was no timer.

217
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It turns out that Reflections

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00:07:18,390 --> 00:07:20,030
had generously designed this mission,

219
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intentionally or unintentionally,

220
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so that the mission countdown timer

221
00:07:23,120 --> 00:07:25,960
doesn't actually begin until
you reach the first checkpoint -

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00:07:25,960 --> 00:07:28,100
meaning that if you never
hit that first checkpoint,

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you can drive around forever.

224
00:07:29,990 --> 00:07:33,750
(car engine roaring)

225
00:07:33,750 --> 00:07:35,230
(car passing on right honks)

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00:07:35,230 --> 00:07:37,070
This led to what I can only describe

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as a transcendent video game experience.

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00:07:39,470 --> 00:07:41,100
It felt like I was seeing something

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00:07:41,100 --> 00:07:42,870
that I was never meant to see.

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00:07:42,870 --> 00:07:46,510
This ability to explore the
city as much as I wanted to

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00:07:46,510 --> 00:07:48,630
all from this wholly unique,

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00:07:48,630 --> 00:07:51,570
extremely surreal second-person viewpoint:

233
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it felt like a magical experience

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00:07:53,170 --> 00:07:54,560
and one that almost nobody else

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has experienced for themselves.

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Now, revisiting this mission

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and managing to escape the confines

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00:07:59,420 --> 00:08:01,690
laid down by the developers
all those years ago,

239
00:08:01,690 --> 00:08:04,680
I really wanted to try and
push this thing to its limits.

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00:08:04,680 --> 00:08:06,430
I couldn't resit trying
to break things a little:

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I drove the car off ramps, into
upcoming traffic, all of it.

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00:08:09,750 --> 00:08:12,000
But surprisingly, it
held together perfectly.

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That is, until I tried one specific thing.

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See, I haven't talked about it before,

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but this mission actually
does have a failure condition.

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In the lower-right corner of the screen

247
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there's a health meter,

248
00:08:21,180 --> 00:08:23,000
and it represents the
health of Tanner's car:

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00:08:23,000 --> 00:08:25,620
the car you're chasing / driving.

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00:08:25,620 --> 00:08:27,130
But if you get into
one too many collisions

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00:08:27,130 --> 00:08:28,650
while driving this car
in the second person,

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00:08:28,650 --> 00:08:30,580
you can actually run out of health,

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causing Tanner to die and
the mission to end in a loss.

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This is actually pretty hard to achieve

255
00:08:35,140 --> 00:08:36,770
on the default mission path they laid out,

256
00:08:36,770 --> 00:08:38,820
but driving into
oncoming lanes of traffic

257
00:08:38,820 --> 00:08:40,420
and ramping off car transporters

258
00:08:40,420 --> 00:08:41,850
had taken its toll on my vehicle

259
00:08:41,850 --> 00:08:44,250
and I only had a small
sliver of health left.

260
00:08:44,250 --> 00:08:46,450
Wanting to explore this
mission as long as possible,

261
00:08:46,450 --> 00:08:49,480
I gingerly pulled Tanner's
car into a narrow alleyway

262
00:08:49,480 --> 00:08:51,300
and then decided to try out the one thing

263
00:08:51,300 --> 00:08:52,240
I hadn't attempted yet:

264
00:08:52,860 --> 00:08:54,700
I turned around and drove
the car,

265
00:08:54,700 --> 00:08:56,120
in the second person,

266
00:08:56,120 --> 00:08:57,860
directly at myself.

267
00:08:57,863 --> 00:09:00,410
(music)

268
00:09:00,410 --> 00:09:02,300
This put the AI driver
in a weird position.

269
00:09:02,300 --> 00:09:05,030
It now had to drive backwards
just to keep me in the frame,

270
00:09:05,030 --> 00:09:06,480
and it was also narrowly sandwiched

271
00:09:06,480 --> 00:09:08,200
between the two walls of the alley,

272
00:09:08,200 --> 00:09:10,360
giving it almost no room to maneuver.

273
00:09:10,360 --> 00:09:11,590
I kept driving towards myself,

274
00:09:11,590 --> 00:09:14,343
putting on the pressure,
closer and closer, and then...

275
00:09:14,343 --> 00:09:15,940
(car engine roaring)

276
00:09:15,940 --> 00:09:16,940
(car screeching)

277
00:09:19,020 --> 00:09:19,845
(cars crashing)

278
00:09:19,845 --> 00:09:21,260
- [Leila] Nice work.

279
00:09:21,260 --> 00:09:22,540
- It broke.

280
00:09:22,540 --> 00:09:25,420
All at once, the second-person
vehicle shoots into a wall,

281
00:09:25,420 --> 00:09:26,253
clips through it,

282
00:09:26,253 --> 00:09:28,870
and then launches hundreds
of feet into the air.

283
00:09:28,870 --> 00:09:30,210
Briefly, one frame at a time,

284
00:09:30,210 --> 00:09:32,400
we can get glimpses of
the chaos that unfolded:

285
00:09:32,400 --> 00:09:34,060
we see the car inside the wall,

286
00:09:34,060 --> 00:09:36,850
then we see the car's
front console flipped over;

287
00:09:36,850 --> 00:09:38,910
we see what appears to be the ocean floor

288
00:09:38,910 --> 00:09:41,660
and then the pavement
as seen from underneath;

289
00:09:41,660 --> 00:09:43,920
we see rooftops, the driver's arm,

290
00:09:43,920 --> 00:09:46,970
the sky, trees, abstract geometry -

291
00:09:46,970 --> 00:09:49,220
and then the city from above,

292
00:09:49,220 --> 00:09:51,530
flooded with unloaded geometry.

293
00:09:51,530 --> 00:09:53,880
After that, we see the car
spinning and spinning in mid air,

294
00:09:53,880 --> 00:09:55,910
giving us glimpses of
San Francisco from above,

295
00:09:55,910 --> 00:09:57,750
before finally getting so high

296
00:09:57,750 --> 00:10:01,440
that nothing can be
seen but endless ocean.

297
00:10:01,440 --> 00:10:02,970
And then,

298
00:10:02,970 --> 00:10:04,085
black.

299
00:10:04,085 --> 00:10:06,860
(music)

300
00:10:06,860 --> 00:10:09,780
Suddenly, all at once, the
car snaps back to earth.

301
00:10:09,780 --> 00:10:12,860
The health meter for Tanner's
vehicle turns blindingly white

302
00:10:12,860 --> 00:10:14,200
and then the second-person viewpoint

303
00:10:14,200 --> 00:10:17,420
fills with an orange-yellow
hue: Tanner's car.

304
00:10:17,420 --> 00:10:19,410
Quickly it becomes clear
that the second-person car

305
00:10:19,410 --> 00:10:22,200
has somehow spawned inside
of Tanner's vehicle,

306
00:10:22,200 --> 00:10:24,199
dealing infinite damage to the car.

307
00:10:24,199 --> 00:10:25,560
(cars crashing)

308
00:10:25,560 --> 00:10:27,400
A deafening crash sound can be heard

309
00:10:27,400 --> 00:10:28,860
and shattered glass flies everywhere,

310
00:10:28,860 --> 00:10:32,160
and then, for a brief moment,
right before the mission ends,

311
00:10:32,160 --> 00:10:35,270
the camera inexplicably
shifts into Tanner's car

312
00:10:35,270 --> 00:10:36,870
where the car is balanced on its nose,

313
00:10:36,870 --> 00:10:38,000
its windshield shattered,

314
00:10:38,000 --> 00:10:40,810
thrust impossibly through another vehicle.

315
00:10:40,810 --> 00:10:43,360
And then, horrifically, the camera clips

316
00:10:43,360 --> 00:10:45,610
through the back of
Tanner's partner's head

317
00:10:45,610 --> 00:10:48,580
and shows us the backside
of his eyeballs and tongue:

318
00:10:48,580 --> 00:10:51,140
a truly terrifying
second-person perspective

319
00:10:51,140 --> 00:10:52,287
if ever there was one.

320
00:10:52,287 --> 00:10:54,870
(music)

321
00:10:59,740 --> 00:11:02,080
Shaken by my other-worldly
encounter seemingly brought on

322
00:11:02,080 --> 00:11:04,980
by pushing this already
existential mission to its limits,

323
00:11:04,980 --> 00:11:05,980
I reset the mission

324
00:11:05,980 --> 00:11:08,630
and played it beginning
to end one last time -

325
00:11:08,630 --> 00:11:10,930
this time careful to do it the right way,

326
00:11:10,930 --> 00:11:13,160
not wanting to disturb
whatever eldritch being

327
00:11:13,160 --> 00:11:15,580
I'd upset by breaking the
mission in the first place.

328
00:11:15,580 --> 00:11:17,920
After all, I thought, I
know that every mission

329
00:11:17,920 --> 00:11:19,010
in Driver: San Francisco

330
00:11:19,010 --> 00:11:21,440
ends with a continue and retry option,

331
00:11:21,440 --> 00:11:23,370
so if I really wanted to
explore this mission again,

332
00:11:23,370 --> 00:11:25,770
I could always hit the retry
button to give it another shot

333
00:11:25,770 --> 00:11:27,170
after running through it normally.

334
00:11:27,170 --> 00:11:29,540
So I proceeded to complete
the mission as intended -

335
00:11:29,540 --> 00:11:32,880
a mission, by the way, that
ends with the antagonist Jericho

336
00:11:32,880 --> 00:11:34,420
actually taking over your body

337
00:11:34,420 --> 00:11:37,174
and attempting to drive you
into a lethal car accident:

338
00:11:37,174 --> 00:11:39,680
(car engine roaring)
- You mean... Jericho!

339
00:11:39,680 --> 00:11:42,010
- [Leila] Sit back and enjoy the show.

340
00:11:42,010 --> 00:11:45,140
Not many people get to
watch themselves die.

341
00:11:45,140 --> 00:11:46,960
- ...a problem that
Tanner decides to solve

342
00:11:46,960 --> 00:11:48,860
by, disturbingly enough, shifting

343
00:11:48,860 --> 00:11:50,890
for the first and only time in the game

344
00:11:50,890 --> 00:11:53,040
into his partner Jones' body.

345
00:11:53,040 --> 00:11:54,170
Yes, that partner.

346
00:11:54,170 --> 00:11:55,820
- [Jones] What the heII is going on?

347
00:11:55,820 --> 00:11:57,520
- Anyways, I
go to finish the mission

348
00:11:57,520 --> 00:11:58,920
the normal way, staying on the path,

349
00:11:58,920 --> 00:12:00,290
fully expecting the restart option

350
00:12:00,290 --> 00:12:02,190
that appears after most
missions to show up.

351
00:12:02,190 --> 00:12:04,280
Instead, I get to the end of the mission, and -

352
00:12:04,280 --> 00:12:06,260
for some reason that
I still can't explain -

353
00:12:06,260 --> 00:12:08,070
the only option was continue.

354
00:12:08,070 --> 00:12:10,053
The reset option had vanished.

355
00:12:10,900 --> 00:12:13,490
Panicked, I quickly hit
ALT+F4 and existed the game,

356
00:12:13,490 --> 00:12:15,020
hoping I could load up my save file

357
00:12:15,020 --> 00:12:17,080
and play through the mission
again, but it was too late.

358
00:12:17,080 --> 00:12:18,770
It had already autosaved over my file

359
00:12:18,770 --> 00:12:22,854
and the mission was gone with
no way to replay it again.

360
00:12:22,854 --> 00:12:26,090
(music)

361
00:12:26,090 --> 00:12:28,250
Look, Driver: San Francisco is a game

362
00:12:28,250 --> 00:12:30,820
full of weird, interesting,
strikingly-designed missions -

363
00:12:30,820 --> 00:12:32,830
but, to me, "The Target"
has always stood out

364
00:12:32,830 --> 00:12:36,100
as the perfect example of
what makes this game special.

365
00:12:36,100 --> 00:12:37,970
Video games are an entire medium

366
00:12:37,970 --> 00:12:39,870
built around taking over others' bodies,

367
00:12:39,870 --> 00:12:42,570
and Driver: San Francisco
is a richly existential

368
00:12:42,570 --> 00:12:45,160
and metatextual reflection of this idea.

369
00:12:45,160 --> 00:12:47,260
This mission in particular
brought these ideas to the fore

370
00:12:47,260 --> 00:12:49,150
in a way that I wasn't fully prepared for

371
00:12:49,150 --> 00:12:51,350
and that I'm only now beginning
to wrap my head around,

372
00:12:51,350 --> 00:12:52,940
years and years later.

373
00:12:52,940 --> 00:12:54,540
Even writing the script for this video

374
00:12:54,540 --> 00:12:56,290
felt like a mind-bending exercise

375
00:12:56,290 --> 00:12:57,500
in trying to explain something

376
00:12:57,500 --> 00:12:59,390
that is borderline unexplainable.

377
00:12:59,390 --> 00:13:00,700
You really have to play it for yourself

378
00:13:00,700 --> 00:13:04,140
to get a full sense of how
crazy this mission feels.

379
00:13:04,140 --> 00:13:06,330
In designing this mission,
Reflections took decades

380
00:13:06,330 --> 00:13:08,870
of 3D video game conventions
and turned them on their head

381
00:13:08,870 --> 00:13:12,150
to create what feels a truly
out-of-body experience.

382
00:13:12,150 --> 00:13:15,350
That, to me, is an
accomplishment worth celebrating.

383
00:13:15,350 --> 00:13:16,931
Please play "Driver: San Francisco."

384
00:13:16,931 --> 00:13:17,890
(car engine roaring)

385
00:13:17,890 --> 00:13:20,510
- [Leila] If you're
here, who's in your body?

386
00:13:20,510 --> 00:13:21,710
- [Tanner] Well, no one.

387
00:13:22,628 --> 00:13:23,461
...oh God.

388
00:13:25,222 --> 00:13:26,559
(door shuts)

389
00:13:26,559 --> 00:13:27,755
(keys jingling)

390
00:13:27,755 --> 00:13:29,540
(car revving)

391
00:13:29,540 --> 00:13:30,900
- All right, so a couple quick updates

392
00:13:30,900 --> 00:13:33,450
on the "Driver: San Francisco" situation.

393
00:13:33,450 --> 00:13:35,640
The petition to get
Ubisoft to re-list the game

394
00:13:35,640 --> 00:13:37,240
that I mentioned at the
end of my last video

395
00:13:37,240 --> 00:13:41,530
is now at over 70,000
signatures, which is insane.

396
00:13:41,530 --> 00:13:43,390
Please, if you have any
interest in this game,

397
00:13:43,390 --> 00:13:44,810
please sign this petition.

398
00:13:44,810 --> 00:13:47,880
It now feels like 100,000
is within our grasp,

399
00:13:47,880 --> 00:13:49,940
which is crazy, and I
can't believe I'm saying,

400
00:13:49,940 --> 00:13:51,510
but it could happen -

401
00:13:51,510 --> 00:13:53,630
which, to me, feels like
an unignorable number.

402
00:13:53,630 --> 00:13:55,750
But! In the meantime, as
you might have noticed,

403
00:13:55,750 --> 00:13:57,180
Ubisoft has not re-listed the game -

404
00:13:57,180 --> 00:14:00,480
they have been ignoring the
70,000 signatures we have.

405
00:14:00,480 --> 00:14:03,247
And on a totally unrelated
note, not connected at all,

406
00:14:03,247 --> 00:14:05,390
Driver: San Francisco,
since my video last month,

407
00:14:05,390 --> 00:14:07,940
has been in the top 10
most downloaded games

408
00:14:07,940 --> 00:14:09,130
on The Pirate Bay.

409
00:14:09,130 --> 00:14:10,810
...totally no relationship there,

410
00:14:10,810 --> 00:14:12,210
not mentioning that for any reason at all.

411
00:14:12,210 --> 00:14:14,410
Just saying, the game is not available

412
00:14:14,410 --> 00:14:16,630
and it's also one of the
most pirated video games,

413
00:14:16,630 --> 00:14:19,500
and has been in the top
10 most pirated games

414
00:14:19,500 --> 00:14:20,450
for the past month.

415
00:14:21,950 --> 00:14:22,880
Just a coincidence.

416
00:14:22,880 --> 00:14:24,730
Also, totally unrelated to the fact

417
00:14:24,730 --> 00:14:28,940
that this game is apparently
very popular on Pirate Bay,

418
00:14:28,940 --> 00:14:32,970
did you know that if you go
to NordVPN.org/babylonian

419
00:14:32,970 --> 00:14:37,970
you can go to websites,
illicit or non-illicit,

420
00:14:38,020 --> 00:14:40,690
without being tracked by
your ISP or anybody else?

421
00:14:40,690 --> 00:14:42,010
So that means that, for example,

422
00:14:42,010 --> 00:14:44,570
if you were to go to - and
I'm not saying you should -

423
00:14:44,570 --> 00:14:47,750
a website that allowed you
to download a video game

424
00:14:47,750 --> 00:14:49,810
that is no longer available
and can be easily pirated

425
00:14:49,810 --> 00:14:50,920
with just a few clicks

426
00:14:50,920 --> 00:14:53,060
and you don't wanna get an
angry email from your ISP

427
00:14:53,060 --> 00:14:54,410
saying you can't do that,

428
00:14:54,410 --> 00:14:56,560
you should invest in a VPN. (laughs)

429
00:14:56,560 --> 00:14:58,880
If you go to NordVPN.org/babylonian

430
00:14:58,880 --> 00:15:00,650
and use coupon code "babylonian",

431
00:15:00,650 --> 00:15:02,580
you'll get 70% off their three-year plan

432
00:15:02,580 --> 00:15:05,500
and get one full month
of VPN coverage free.

433
00:15:05,500 --> 00:15:07,280
But yeah, if you enjoyed this video,

434
00:15:07,280 --> 00:15:09,530
please share it with anyone
you think would like it,

435
00:15:09,530 --> 00:15:11,900
and/or subscribe to my channel

436
00:15:11,900 --> 00:15:13,540
if you'd like to see more
stuff like this in the future.

437
00:15:13,540 --> 00:15:14,760
I've got a lot of videos

438
00:15:14,760 --> 00:15:16,830
in various stages of production right now

439
00:15:16,830 --> 00:15:19,770
that I'm really excited
to get out into the world,

440
00:15:19,770 --> 00:15:20,603
and I can finally start
thinking about them

441
00:15:20,603 --> 00:15:21,790
now that this one's done.

442
00:15:21,790 --> 00:15:24,450
So yeah, that's it from me for this time.

443
00:15:24,450 --> 00:15:26,880
Hopefully the next video
comes out a little quicker.

444
00:15:26,880 --> 00:15:28,270
I've got a lot of ideas
that have nothing to do

445
00:15:28,270 --> 00:15:30,570
with Driver: SF, I just... this one

446
00:15:31,520 --> 00:15:33,340
has been on my mind for a while

447
00:15:33,340 --> 00:15:34,790
and I'm glad to finally have it done.

448
00:15:34,790 --> 00:15:37,760
So thank you for watching,
and I'll see you next time.

449
00:15:37,760 --> 00:15:39,380
(music)