WEBVTT

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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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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

00:06:53.440 --> 00:06:54.590
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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and I kept bracing myself to
hit some kind of invisible wall

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or failure state for going off course,

00:07:04.960 --> 00:07:08.100
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

00:07:12.570 --> 00:07:14.120
through the other cars on the road.

00:07:14.120 --> 00:07:15.700
It was around this time that
I noticed...

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there was no timer.

00:07:17.280 --> 00:07:18.390
It turns out that Reflections

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had generously designed this mission,

00:07:20.030 --> 00:07:21.750
intentionally or unintentionally,

00:07:21.750 --> 00:07:23.120
so that the mission countdown timer

00:07:23.120 --> 00:07:25.960
doesn't actually begin until
you reach the first checkpoint -

00:07:25.960 --> 00:07:28.100
meaning that if you never
hit that first checkpoint,

00:07:28.100 --> 00:07:29.990
you can drive around forever.

00:07:29.990 --> 00:07:33.750
(car engine roaring)

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(car passing on right honks)

00:07:35.230 --> 00:07:37.070
This led to what I can only describe

00:07:37.070 --> 00:07:39.470
as a transcendent video game experience.

00:07:39.470 --> 00:07:41.100
It felt like I was seeing something

00:07:41.100 --> 00:07:42.870
that I was never meant to see.

00:07:42.870 --> 00:07:46.510
This ability to explore the
city as much as I wanted to

00:07:46.510 --> 00:07:48.630
all from this wholly unique,

00:07:48.630 --> 00:07:51.570
extremely surreal second-person viewpoint:

00:07:51.570 --> 00:07:53.170
it felt like a magical experience

00:07:53.170 --> 00:07:54.560
and one that almost nobody else

00:07:54.560 --> 00:07:55.940
has experienced for themselves.

00:07:56.500 --> 00:07:57.730
Now, revisiting this mission

00:07:57.730 --> 00:07:59.420
and managing to escape the confines

00:07:59.420 --> 00:08:01.690
laid down by the developers
all those years ago,

00:08:01.690 --> 00:08:04.680
I really wanted to try and
push this thing to its limits.

00:08:04.680 --> 00:08:06.430
I couldn't resit trying
to break things a little:

00:08:06.430 --> 00:08:09.750
I drove the car off ramps, into
upcoming traffic, all of it.

00:08:09.750 --> 00:08:12.000
But surprisingly, it
held together perfectly.

00:08:12.000 --> 00:08:14.840
That is, until I tried one specific thing.

00:08:14.840 --> 00:08:16.140
See, I haven't talked about it before,

00:08:16.140 --> 00:08:18.990
but this mission actually
does have a failure condition.

00:08:18.990 --> 00:08:20.310
In the lower-right corner of the screen

00:08:20.310 --> 00:08:21.180
there's a health meter,

00:08:21.180 --> 00:08:23.000
and it represents the
health of Tanner's car:

00:08:23.000 --> 00:08:25.620
the car you're chasing / driving.

00:08:25.620 --> 00:08:27.130
But if you get into
one too many collisions

00:08:27.130 --> 00:08:28.650
while driving this car
in the second person,

00:08:28.650 --> 00:08:30.580
you can actually run out of health,

00:08:30.580 --> 00:08:33.390
causing Tanner to die and
the mission to end in a loss.

00:08:33.390 --> 00:08:35.140
This is actually pretty hard to achieve

00:08:35.140 --> 00:08:36.770
on the default mission path they laid out,

00:08:36.770 --> 00:08:38.820
but driving into
oncoming lanes of traffic

00:08:38.820 --> 00:08:40.420
and ramping off car transporters

00:08:40.420 --> 00:08:41.850
had taken its toll on my vehicle

00:08:41.850 --> 00:08:44.250
and I only had a small
sliver of health left.

00:08:44.250 --> 00:08:46.450
Wanting to explore this
mission as long as possible,

00:08:46.450 --> 00:08:49.480
I gingerly pulled Tanner's
car into a narrow alleyway

00:08:49.480 --> 00:08:51.300
and then decided to try out the one thing

00:08:51.300 --> 00:08:52.240
I hadn't attempted yet:

00:08:52.860 --> 00:08:54.700
I turned around and drove
the car,

00:08:54.700 --> 00:08:56.120
in the second person,

00:08:56.120 --> 00:08:57.860
directly at myself.

00:08:57.863 --> 00:09:00.410
(music)

00:09:00.410 --> 00:09:02.300
This put the AI driver
in a weird position.

00:09:02.300 --> 00:09:05.030
It now had to drive backwards
just to keep me in the frame,

00:09:05.030 --> 00:09:06.480
and it was also narrowly sandwiched

00:09:06.480 --> 00:09:08.200
between the two walls of the alley,

00:09:08.200 --> 00:09:10.360
giving it almost no room to maneuver.

00:09:10.360 --> 00:09:11.590
I kept driving towards myself,

00:09:11.590 --> 00:09:14.343
putting on the pressure,
closer and closer, and then...

00:09:14.343 --> 00:09:15.940
(car engine roaring)

00:09:15.940 --> 00:09:16.940
(car screeching)

00:09:19.020 --> 00:09:19.845
(cars crashing)

00:09:19.845 --> 00:09:21.260
- [Leila] Nice work.

00:09:21.260 --> 00:09:22.540
- It broke.

00:09:22.540 --> 00:09:25.420
All at once, the second-person
vehicle shoots into a wall,

00:09:25.420 --> 00:09:26.253
clips through it,

00:09:26.253 --> 00:09:28.870
and then launches hundreds
of feet into the air.

00:09:28.870 --> 00:09:30.210
Briefly, one frame at a time,

00:09:30.210 --> 00:09:32.400
we can get glimpses of
the chaos that unfolded:

00:09:32.400 --> 00:09:34.060
we see the car inside the wall,

00:09:34.060 --> 00:09:36.850
then we see the car's
front console flipped over;

00:09:36.850 --> 00:09:38.910
we see what appears to be the ocean floor

00:09:38.910 --> 00:09:41.660
and then the pavement
as seen from underneath;

00:09:41.660 --> 00:09:43.920
we see rooftops, the driver's arm,

00:09:43.920 --> 00:09:46.970
the sky, trees, abstract geometry -

00:09:46.970 --> 00:09:49.220
and then the city from above,

00:09:49.220 --> 00:09:51.530
flooded with unloaded geometry.

00:09:51.530 --> 00:09:53.880
After that, we see the car
spinning and spinning in mid air,

00:09:53.880 --> 00:09:55.910
giving us glimpses of
San Francisco from above,

00:09:55.910 --> 00:09:57.750
before finally getting so high

00:09:57.750 --> 00:10:01.440
that nothing can be
seen but endless ocean.

00:10:01.440 --> 00:10:02.970
And then,

00:10:02.970 --> 00:10:04.085
black.

00:10:04.085 --> 00:10:06.860
(music)

00:10:06.860 --> 00:10:09.780
Suddenly, all at once, the
car snaps back to earth.

00:10:09.780 --> 00:10:12.860
The health meter for Tanner's
vehicle turns blindingly white

00:10:12.860 --> 00:10:14.200
and then the second-person viewpoint

00:10:14.200 --> 00:10:17.420
fills with an orange-yellow
hue: Tanner's car.

00:10:17.420 --> 00:10:19.410
Quickly it becomes clear
that the second-person car

00:10:19.410 --> 00:10:22.200
has somehow spawned inside
of Tanner's vehicle,

00:10:22.200 --> 00:10:24.199
dealing infinite damage to the car.

00:10:24.199 --> 00:10:25.560
(cars crashing)

00:10:25.560 --> 00:10:27.400
A deafening crash sound can be heard

00:10:27.400 --> 00:10:28.860
and shattered glass flies everywhere,

00:10:28.860 --> 00:10:32.160
and then, for a brief moment,
right before the mission ends,

00:10:32.160 --> 00:10:35.270
the camera inexplicably
shifts into Tanner's car

00:10:35.270 --> 00:10:36.870
where the car is balanced on its nose,

00:10:36.870 --> 00:10:38.000
its windshield shattered,

00:10:38.000 --> 00:10:40.810
thrust impossibly through another vehicle.

00:10:40.810 --> 00:10:43.360
And then, horrifically, the camera clips

00:10:43.360 --> 00:10:45.610
through the back of
Tanner's partner's head

00:10:45.610 --> 00:10:48.580
and shows us the backside
of his eyeballs and tongue:

00:10:48.580 --> 00:10:51.140
a truly terrifying
second-person perspective

00:10:51.140 --> 00:10:52.287
if ever there was one.

00:10:52.287 --> 00:10:54.870
(music)

00:10:59.740 --> 00:11:02.080
Shaken by my other-worldly
encounter seemingly brought on

00:11:02.080 --> 00:11:04.980
by pushing this already
existential mission to its limits,

00:11:04.980 --> 00:11:05.980
I reset the mission

00:11:05.980 --> 00:11:08.630
and played it beginning
to end one last time -

00:11:08.630 --> 00:11:10.930
this time careful to do it the right way,

00:11:10.930 --> 00:11:13.160
not wanting to disturb
whatever eldritch being

00:11:13.160 --> 00:11:15.580
I'd upset by breaking the
mission in the first place.

00:11:15.580 --> 00:11:17.920
After all, I thought, I
know that every mission

00:11:17.920 --> 00:11:19.010
in Driver: San Francisco

00:11:19.010 --> 00:11:21.440
ends with a continue and retry option,

00:11:21.440 --> 00:11:23.370
so if I really wanted to
explore this mission again,

00:11:23.370 --> 00:11:25.770
I could always hit the retry
button to give it another shot

00:11:25.770 --> 00:11:27.170
after running through it normally.

00:11:27.170 --> 00:11:29.540
So I proceeded to complete
the mission as intended -

00:11:29.540 --> 00:11:32.880
a mission, by the way, that
ends with the antagonist Jericho

00:11:32.880 --> 00:11:34.420
actually taking over your body

00:11:34.420 --> 00:11:37.174
and attempting to drive you
into a lethal car accident:

00:11:37.174 --> 00:11:39.680
(car engine roaring)
- You mean... Jericho!

00:11:39.680 --> 00:11:42.010
- [Leila] Sit back and enjoy the show.

00:11:42.010 --> 00:11:45.140
Not many people get to
watch themselves die.

00:11:45.140 --> 00:11:46.960
- ...a problem that
Tanner decides to solve

00:11:46.960 --> 00:11:48.860
by, disturbingly enough, shifting

00:11:48.860 --> 00:11:50.890
for the first and only time in the game

00:11:50.890 --> 00:11:53.040
into his partner Jones' body.

00:11:53.040 --> 00:11:54.170
Yes, that partner.

00:11:54.170 --> 00:11:55.820
- [Jones] What the heII is going on?

00:11:55.820 --> 00:11:57.520
- Anyways, I
go to finish the mission

00:11:57.520 --> 00:11:58.920
the normal way, staying on the path,

00:11:58.920 --> 00:12:00.290
fully expecting the restart option

00:12:00.290 --> 00:12:02.190
that appears after most
missions to show up.

00:12:02.190 --> 00:12:04.280
Instead, I get to the end of the mission, and -

00:12:04.280 --> 00:12:06.260
for some reason that
I still can't explain -

00:12:06.260 --> 00:12:08.070
the only option was continue.

00:12:08.070 --> 00:12:10.053
The reset option had vanished.

00:12:10.900 --> 00:12:13.490
Panicked, I quickly hit
ALT+F4 and existed the game,

00:12:13.490 --> 00:12:15.020
hoping I could load up my save file

00:12:15.020 --> 00:12:17.080
and play through the mission
again, but it was too late.

00:12:17.080 --> 00:12:18.770
It had already autosaved over my file

00:12:18.770 --> 00:12:22.854
and the mission was gone with
no way to replay it again.

00:12:22.854 --> 00:12:26.090
(music)

00:12:26.090 --> 00:12:28.250
Look, Driver: San Francisco is a game

00:12:28.250 --> 00:12:30.820
full of weird, interesting,
strikingly-designed missions -

00:12:30.820 --> 00:12:32.830
but, to me, "The Target"
has always stood out

00:12:32.830 --> 00:12:36.100
as the perfect example of
what makes this game special.

00:12:36.100 --> 00:12:37.970
Video games are an entire medium

00:12:37.970 --> 00:12:39.870
built around taking over others' bodies,

00:12:39.870 --> 00:12:42.570
and Driver: San Francisco
is a richly existential

00:12:42.570 --> 00:12:45.160
and metatextual reflection of this idea.

00:12:45.160 --> 00:12:47.260
This mission in particular
brought these ideas to the fore

00:12:47.260 --> 00:12:49.150
in a way that I wasn't fully prepared for

00:12:49.150 --> 00:12:51.350
and that I'm only now beginning
to wrap my head around,

00:12:51.350 --> 00:12:52.940
years and years later.

00:12:52.940 --> 00:12:54.540
Even writing the script for this video

00:12:54.540 --> 00:12:56.290
felt like a mind-bending exercise

00:12:56.290 --> 00:12:57.500
in trying to explain something

00:12:57.500 --> 00:12:59.390
that is borderline unexplainable.

00:12:59.390 --> 00:13:00.700
You really have to play it for yourself

00:13:00.700 --> 00:13:04.140
to get a full sense of how
crazy this mission feels.

00:13:04.140 --> 00:13:06.330
In designing this mission,
Reflections took decades

00:13:06.330 --> 00:13:08.870
of 3D video game conventions
and turned them on their head

00:13:08.870 --> 00:13:12.150
to create what feels a truly
out-of-body experience.

00:13:12.150 --> 00:13:15.350
That, to me, is an
accomplishment worth celebrating.

00:13:15.350 --> 00:13:16.931
Please play "Driver: San Francisco."

00:13:16.931 --> 00:13:17.890
(car engine roaring)

00:13:17.890 --> 00:13:20.510
- [Leila] If you're
here, who's in your body?

00:13:20.510 --> 00:13:21.710
- [Tanner] Well, no one.

00:13:22.628 --> 00:13:23.461
...oh God.

00:13:25.222 --> 00:13:26.559
(door shuts)

00:13:26.559 --> 00:13:27.755
(keys jingling)

00:13:27.755 --> 00:13:29.540
(car revving)

00:13:29.540 --> 00:13:30.900
- All right, so a couple quick updates

00:13:30.900 --> 00:13:33.450
on the "Driver: San Francisco" situation.

00:13:33.450 --> 00:13:35.640
The petition to get
Ubisoft to re-list the game

00:13:35.640 --> 00:13:37.240
that I mentioned at the
end of my last video

00:13:37.240 --> 00:13:41.530
is now at over 70,000
signatures, which is insane.

00:13:41.530 --> 00:13:43.390
Please, if you have any
interest in this game,

00:13:43.390 --> 00:13:44.810
please sign this petition.

00:13:44.810 --> 00:13:47.880
It now feels like 100,000
is within our grasp,

00:13:47.880 --> 00:13:49.940
which is crazy, and I
can't believe I'm saying,

00:13:49.940 --> 00:13:51.510
but it could happen -

00:13:51.510 --> 00:13:53.630
which, to me, feels like
an unignorable number.

00:13:53.630 --> 00:13:55.750
But! In the meantime, as
you might have noticed,

00:13:55.750 --> 00:13:57.180
Ubisoft has not re-listed the game -

00:13:57.180 --> 00:14:00.480
they have been ignoring the
70,000 signatures we have.

00:14:00.480 --> 00:14:03.247
And on a totally unrelated
note, not connected at all,

00:14:03.247 --> 00:14:05.390
Driver: San Francisco,
since my video last month,

00:14:05.390 --> 00:14:07.940
has been in the top 10
most downloaded games

00:14:07.940 --> 00:14:09.130
on The Pirate Bay.

00:14:09.130 --> 00:14:10.810
...totally no relationship there,

00:14:10.810 --> 00:14:12.210
not mentioning that for any reason at all.

00:14:12.210 --> 00:14:14.410
Just saying, the game is not available

00:14:14.410 --> 00:14:16.630
and it's also one of the
most pirated video games,

00:14:16.630 --> 00:14:19.500
and has been in the top
10 most pirated games

00:14:19.500 --> 00:14:20.450
for the past month.

00:14:21.950 --> 00:14:22.880
Just a coincidence.

00:14:22.880 --> 00:14:24.730
Also, totally unrelated to the fact

00:14:24.730 --> 00:14:28.940
that this game is apparently
very popular on Pirate Bay,

00:14:28.940 --> 00:14:32.970
did you know that if you go
to NordVPN.org/babylonian

00:14:32.970 --> 00:14:37.970
you can go to websites,
illicit or non-illicit,

00:14:38.020 --> 00:14:40.690
without being tracked by
your ISP or anybody else?

00:14:40.690 --> 00:14:42.010
So that means that, for example,

00:14:42.010 --> 00:14:44.570
if you were to go to - and
I'm not saying you should -

00:14:44.570 --> 00:14:47.750
a website that allowed you
to download a video game

00:14:47.750 --> 00:14:49.810
that is no longer available
and can be easily pirated

00:14:49.810 --> 00:14:50.920
with just a few clicks

00:14:50.920 --> 00:14:53.060
and you don't wanna get an
angry email from your ISP

00:14:53.060 --> 00:14:54.410
saying you can't do that,

00:14:54.410 --> 00:14:56.560
you should invest in a VPN. (laughs)

00:14:56.560 --> 00:14:58.880
If you go to NordVPN.org/babylonian

00:14:58.880 --> 00:15:00.650
and use coupon code "babylonian",

00:15:00.650 --> 00:15:02.580
you'll get 70% off their three-year plan

00:15:02.580 --> 00:15:05.500
and get one full month
of VPN coverage free.

00:15:05.500 --> 00:15:07.280
But yeah, if you enjoyed this video,

00:15:07.280 --> 00:15:09.530
please share it with anyone
you think would like it,

00:15:09.530 --> 00:15:11.900
and/or subscribe to my channel

00:15:11.900 --> 00:15:13.540
if you'd like to see more
stuff like this in the future.

00:15:13.540 --> 00:15:14.760
I've got a lot of videos

00:15:14.760 --> 00:15:16.830
in various stages of production right now

00:15:16.830 --> 00:15:19.770
that I'm really excited
to get out into the world,

00:15:19.770 --> 00:15:20.603
and I can finally start
thinking about them

00:15:20.603 --> 00:15:21.790
now that this one's done.

00:15:21.790 --> 00:15:24.450
So yeah, that's it from me for this time.

00:15:24.450 --> 00:15:26.880
Hopefully the next video
comes out a little quicker.

00:15:26.880 --> 00:15:28.270
I've got a lot of ideas
that have nothing to do

00:15:28.270 --> 00:15:30.570
with Driver: SF, I just... this one

00:15:31.520 --> 00:15:33.340
has been on my mind for a while

00:15:33.340 --> 00:15:34.790
and I'm glad to finally have it done.

00:15:34.790 --> 00:15:37.760
So thank you for watching,
and I'll see you next time.

00:15:37.760 --> 00:15:39.380
(music)