This Is What a "Second-Person" Video Game Would Look Like

Summary

The video explores the concept of a 'second-person' perspective in video games, using 'Driver: San Francisco' as a case study. It delves into the game's unique mission 'The Target,' where players control one character while another AI-driven version of themselves is pursued. The script discusses the disorienting yet fascinating gameplay experience, the existential themes, and the mission's technical limitations and possibilities. The video concludes with a call to play the game and a humorous commentary on its unavailability, indirectly referencing its popularity on The Pirate Bay.

Takeaways

• 🎮 The video discusses the concept of first-person and third-person perspectives in video games and ponders the hypothetical experience of a second-person perspective.
• 🤔 The existence of first and third-person games raises curiosity about what a second-person game would entail, sparking discussions and comedic sketches on the topic.
• 📚 Grammatically, first-person uses pronouns like 'I' and 'my', third-person uses 'he', 'she', etc., while second-person primarily uses 'you'.
• 👀 Second-person narrative is less common and is often found in instructions or 'choose-your-own-adventure' books, making it an unusual choice for video games.
• 🕵️‍♂️ The game 'Driver: San Francisco' introduces a unique mission called 'The Target' that offers a perspective akin to a second-person viewpoint.
• 🚗 In 'The Target' mission, players control one car while following another, creating a disorienting experience where the player's perspective is separate from the controlled vehicle.
• 🔍 The player can explore the game world freely in this second-person mode, despite initial assumptions that it might be limited due to technical constraints.
• 🕒 The mission's timer doesn't start until the first checkpoint is reached, allowing for unrestricted exploration without time pressure.
• 💥 Pushing the game's limits can lead to glitches, such as the second-person car spawning inside the first-person car, causing a dramatic and infinite damage.
• 🎉 The video celebrates the unique and mind-bending experience provided by 'Driver: San Francisco', highlighting the game's innovative approach to perspective in gaming.
• 📉 A petition to re-list 'Driver: San Francisco' has gained significant support, and the game's unavailability has led to it becoming one of the top pirated games on The Pirate Bay.

Q & A

What are the two primary perspectives in 3D character-driven video games?

The two primary perspectives in 3D character-driven video games are first-person and third-person. In the first-person perspective, the game world is seen through the eyes of the player character, while in the third-person perspective, the player character is viewed from the outside, often from behind their back or from a fixed isometric perspective.

What is the concept of a 'second-person' game, and why is it unusual?

A 'second-person' game would theoretically be one where the narrative is directed at the player using the pronoun 'you', similar to second-person point of view in written language. It is unusual because this perspective is less common in narrative writing and is more typically found in instructions or choose-your-own-adventure books.

What grammatical perspective does the term 'first person' denote in written language?

In written language, the term 'first person' denotes a point of view that uses phrases like 'I' or 'my' to tell the story from the perspective of the protagonist.

How does the game 'Driver: San Francisco' relate to the concept of a second-person game?

'Driver: San Francisco' relates to the concept of a second-person game through a mission called 'The Target', where the player controls one character while pursuing another, effectively creating a unique second-person perspective where the player is both the pursuer and the pursued.

What is the significance of the mission 'The Target' in 'Driver: San Francisco'?

The mission 'The Target' in 'Driver: San Francisco' is significant because it presents a unique gameplay mechanic where the player experiences an out-of-body perspective, controlling one vehicle while viewing from the perspective of another, challenging traditional video game conventions.

How does the mission 'The Target' in 'Driver: San Francisco' defy the traditional mission structure?

The mission 'The Target' defies the traditional mission structure by allowing the player to explore the game world freely from a second-person perspective, even after deviating from the intended mission path, and without triggering a failure state or timer.

What happens when the health meter of Tanner's car in 'The Target' mission reaches zero?

When the health meter of Tanner's car reaches zero in 'The Target' mission, the mission ends in a loss as Tanner's car is considered destroyed, causing the player to fail the mission.

What is the unusual outcome when the player drives the second-person car directly at themselves in 'The Target' mission?

When the player drives the second-person car directly at themselves in 'The Target' mission, the game glitches, causing the second-person car to clip through objects and launch into the air, providing a chaotic and surreal visual experience.

Why did the video script author feel the need to play 'The Target' mission again after eight years?

The author felt the need to play 'The Target' mission again after eight years to dissect the unique perspective it offered, understand what makes it tick, and to explore the mission's limitations and potential for breaking the game.

What was the author's experience after trying to reset the mission 'The Target'?

After trying to reset the mission 'The Target', the author discovered that the reset option had vanished, and the game had autosaved over their previous save file, making it impossible to replay the mission as intended.

What is the current status of 'Driver: San Francisco' in terms of availability and community interest?

'Driver: San Francisco' is currently not re-listed by Ubisoft, despite a petition with over 70,000 signatures. The game has been in the top 10 most downloaded games on The Pirate Bay, indicating a high level of community interest.

Outlines

00:00

🎮 The Puzzle of Second-Person Perspective in Gaming

The video script begins by exploring the concept of first-person and third-person perspectives in 3D video games, commonly found in character-driven titles. It raises the intriguing question of what a second-person perspective might look like, a topic that has been a subject of debate and humor in gaming communities. The script suggests examining the grammatical perspective to understand this concept better, explaining that while first and third person are well-represented in games, the second person, primarily using 'you', is less common and often found in instructions or interactive narratives. The script then introduces a unique example from the game 'Driver: San Francisco', where the player experiences a mission from an unusual second-person perspective, controlling one character while viewing from another's point of view.

05:01

🕵️‍♂️ The Unusual Mission 'The Target' in Driver: San Francisco

This paragraph delves into the specifics of the 'The Target' mission from 'Driver: San Francisco', where the player, as a cop named John Tanner, uses a unique ability to take over the bodies of other drivers. The mission's climax involves Tanner, in the body of a gangster named Ordell, being tasked with driving to a target, only to discover that the target is actually himself. The player experiences a disorienting second-person perspective, controlling the car they are following while another AI-driven car follows them. The script describes the mission's linearity and strict timer, which the player later discovers can be bypassed, allowing for an open-world exploration with the second-person viewpoint. The player's experimentation with this perspective leads to a dramatic and surreal experience, pushing the game's mechanics to their limits and resulting in a glitch that catapults the car into the sky, offering a brief, chaotic glimpse of the game world from various perspectives.

10:01

🔍 Breaking the Boundaries of 'The Target' Mission

The script continues with the player's exploration of the 'The Target' mission beyond its intended path. By driving in reverse and avoiding the first checkpoint, the player discovers that the mission's timer does not start, allowing for an indefinite exploration of the game's open world from the second-person perspective. This leads to a transcendent experience, as the player maneuvers through traffic with the unique camera perspective. The player also tests the mission's failure conditions by intentionally causing collisions, which eventually results in a dramatic crash that leads to a surreal and terrifying second-person view of Tanner's partner's interior anatomy. This experiment with the game's mechanics reveals the developers' ingenuity in creating an out-of-body experience that challenges traditional video game conventions.

15:03

📡 The Impact of 'Driver: San Francisco' and a Call to Action

The final paragraph reflects on the overall impact of 'Driver: San Francisco' and its unique mission 'The Target', which stands out for its existential and metatextual exploration of video game mechanics. The player expresses a desire to replay the mission after experiencing its surreal aspects but discovers that the game has autosaved over the previous save file, making it unplayable. The script then shifts to an update on efforts to get Ubisoft to re-list the game, which has been removed from digital stores, and mentions a petition that has gathered significant support. The player also humorously notes the game's popularity on The Pirate Bay and promotes a VPN service for secure and private internet access. The video concludes with a call to action for viewers to share the video, subscribe to the channel, and look forward to future content.

Keywords

💡First-person game

A first-person game is a genre where the player experiences the game world through the eyes of the player character, as if they were that character. This perspective is central to the video's theme of exploring different video game perspectives. The script uses the concept to contrast with third-person and hypothetical second-person viewpoints, as seen in the opening where it describes the typical first-person experience.

💡Third-person game

A third-person game allows the player to view the game world from an external perspective, often behind the player character's back or from a fixed isometric angle. This concept is important in the video as it sets the stage for the discussion about the possibility of a second-person perspective. The script uses the term to differentiate it from the first-person perspective and to lead into the main topic of second-person gaming.

💡Second-person perspective

The second-person perspective is a narrative mode where the story is told using the pronoun 'you', directly addressing the reader or player. In the context of the video, it is an unusual concept in gaming, which the script explores through the unique mechanics of the game 'Driver: San Francisco'. The video discusses the theoretical and practical implications of a 'you' game, as opposed to 'I' or 'he' games.

💡Driver: San Francisco

Driver: San Francisco is a video game that features a unique mission called 'The Target', which the video uses as a case study to illustrate a second-person perspective in gaming. The game allows players to take over the bodies of various drivers, and in this particular mission, the player experiences a disorienting second-person chase sequence. The video deeply analyzes this mission to convey the oddity and novelty of the second-person viewpoint.

💡Perspective in video games

Perspective in video games refers to the visual and narrative standpoint from which the game is experienced. The video's main theme revolves around this concept, examining how changing the perspective can drastically alter the gaming experience. The script uses the game 'Driver: San Francisco' to demonstrate a deviation from traditional first- and third-person perspectives.

💡Out-of-body experience

An out-of-body experience is a sensation in which a person feels as if their consciousness is located outside of their physical body. The video uses this term to describe the disorienting effect of the second-person perspective in 'Driver: San Francisco', where the player controls one car while viewing from the perspective of another, creating a sense of detachment from the character they are controlling.

💡Gameplay mechanics

Gameplay mechanics refer to the rules and interactions that make up gameplay. In the context of the video, the unique mechanics of 'Driver: San Francisco' are highlighted, particularly the ability to possess different drivers, which is central to the exploration of the second-person perspective. The script discusses how these mechanics contribute to the game's existential themes.

💡Video game conventions

Video game conventions are the standard practices and tropes commonly found in games, such as the use of first- or third-person perspectives. The video discusses how 'Driver: San Francisco' subverts these conventions in its mission 'The Target', offering a fresh and unconventional gaming experience that challenges traditional perspectives.

💡Metatextual

Metatextual refers to a text, or in this case a game, that is self-referential or provides commentary on itself. The video describes 'Driver: San Francisco' as a metatextual reflection on the concept of taking over bodies in video games, with the mission 'The Target' serving as a prime example of this self-awareness.

💡Mission 'The Target'

The mission 'The Target' from 'Driver: San Francisco' is a central focus of the video. It is a mission where the player, as a cop named John Tanner, is tasked with driving a gangster and an assassin into police custody. The video uses this mission to explore the concept of a second-person game, highlighting its unique and surreal gameplay mechanics.

💡Game-breaking

Game-breaking refers to actions or glitches that cause a game to behave in unintended ways, potentially leading to crashes or breaking the immersion. The video describes an instance where the player intentionally drives the car in the second person directly at themselves, causing a game-breaking event that results in a visually chaotic and narratively intriguing outcome.

Highlights

3D character-driven video games can be categorized into first-person or third-person perspectives.

First-person perspective places the player in the eyes of the character, while third-person shows the character from an external view.

The concept of a second-person perspective in video games has been a topic of debate and humor.

Second-person perspective in literature is characterized by the use of 'you' as the primary pronoun.

In 'Driver: San Francisco', the mission 'The Target' introduces a unique second-person perspective mechanic.

The player controls one character while simultaneously viewing the actions of another character from a first-person perspective.

The mission's design creates a disorienting and shocking out-of-body experience for the player.

Exploring the game's open world with the second-person perspective reveals its full accessibility and functionality.

The mission's timer does not start until the first checkpoint is reached, allowing for unrestricted exploration.

Attempting to break the game by driving the second-person car into itself results in a dramatic and visually chaotic event.

The mission ends with a unique twist where the antagonist takes over the player's body, creating existential reflection.

The mission 'The Target' stands out for its unconventional approach to video game narrative and mechanics.

Reflections, the developer, subverted traditional 3D video game conventions to create a truly out-of-body experience.

The mission's uniqueness has led to a significant online petition to get 'Driver: San Francisco' re-listed.

Despite the game's unavailability, 'Driver: San Francisco' remains in the top 10 most downloaded games on The Pirate Bay.

The video encourages viewers to sign the petition and subscribe for more content related to video game analysis.

Transcripts

Most 3D, character-driven video games

can be pretty easily placed into one of two categories:

either first person or third person.

In a first-person game, you see the game world

through the actual eyes of the player character

as though you were that character,

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

from the outside - often from behind their back

or from a fixed isometric perspective.

But the existence of these two perspectives

begs a question:

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

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

what exactly would second-person look like?

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

the question of whether or not

a second-person shooter could actually exist

is one that has plagued video game message boards

just about as long as the Internet has existed.

It's also served as the premise

for some pretty good comedy sketches over the years,

like this one from Mega64:

- [Announcer] Introducing the world's

first second-person shooter.

(video game music)

(rock music) - No no no no!

- And this one from The Onion.

- To enter second-person shooter mode,

you just simply adjust the narrative slider

from first to second.

- You are walking down a long corridor.

Suddenly, a Nazi leaps out from around the doorway

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

- But to help us actually figure out

what a second-person game would really be,

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

In written language, the term "first person"

denotes any writing where the point of view

uses phrases like "I" or m"y"

to tell the story from the perspective of the protagonist.

Third-person writing, on the other hand,

uses third-person pronouns -

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

to talk about characters from an outside perspective.

Now, second-person writing does exist,

but it's kind of a weird one -

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

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

The second person is actually a lot less common

in narrative writing,

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

in, say, a list of instructions

or a choose-your-own-adventure book.

Now, the analogous video game camera perspectives

for first and third-person writing are obvious -

but what about for second-person?

We know what an "I" game looks like

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

but what about a "you" game?

Strangely enough, I actually found the answer to this

before I even came up with the question,

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

you may have heard me talk about once before -

and that game is Driver: San Francisco.

See, for all the interesting missions

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

there's one mission in particular

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

The mission in question is called "The Target"

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

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

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

basically has a superpower that allows you

to take over the bodies of any other driver,

and has begun using that superpower

to foil a possible terror plot

from a gangster named Jericho.

Over the course of the game Tanner decides

that the best way to unravel Jericho's plans

is to do it from the inside,

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

of a low-level henchman named Ordell

and uses his driving skills

to help move Ordell up the ranks.

The final mission in this story arc

sees you inhabiting Ordell's body one last time

to complete a major assignment from his boss Leila,

who is this international assassin

and Jericho's second-in-command.

Tanner's plan?

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

drive Leila and Ordell directly into police custody.

Now, the mission begins as normal

with Tanner and his partner Jones

driving their iconic orange Dodge Challenger,

and soon enough, you warp into Ordell's body

with Leila in the passenger seat

where she gives you some clarity on the mission.

(car engine roaring)

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

- [Tanner] What's going down?

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

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

- So you drive to the destination

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

and as you get close, this happens:

(car engine roaring)

- Slow down.

We should acquire the target any time now.

(car engine roaring) (tires screeching)

The yellow Dodge, up ahead.

Stay close but don't be obvious.

- ...that's my car.

- What?

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

- Do we follow him to the target?

- ...he IS the target.

- [Narrator] It's you.

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

(music)

Now, after that cutscene ends,

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

with Leila sitting to your right.

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

and the car in front of you moves.

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

and the car in front of you moves

to the left and then to the right.

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

is actually the car you're following.

Your perspective as the player is entirely separate

from what you're controlling as the player.

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

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

is moving, too - but, crucially,

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

The car you're sitting in is moving automatically,

seemingly operated by an AI-controlled driver

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

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

just like you've seen countless other times -

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

This time, you're the one being followed,

while simultaneously seeing it all unfold

from the perspective of the car doing the following.

And while it's hard for me to guess

how well this comes across on video,

all these elements combine to make something

that is very, very odd to play.

There's something shocking and disorienting

about seeing a first-person perspective on your screen

but also not controlling that perspective

while remotely operating the car that you're tailing.

It's the closest a video game has ever gotten

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

and it's an experience that has stuck with me

ever since I first played this game back in 2011.

Now, when I first played Driver: San Francisco

eight years ago,

I kinda just played through this mission once,

start to finish, marveling at the unique perspective

that this mission granted you,

but then moving on to the rest of the game.

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

I'd wanna pick this mission apart

and see what makes it tick,

and that's part of what I hope to accomplish

with this video.

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

The whole thing takes place with you driving down

this completely locked-down race course

with no exits or detours -

pretty much just a straight shot to the exit.

I've always assumed that the developer Reflections

designed this mission this way

due to the technological limitations

of this weird second-person camera

that they built just for this mission.

Perhaps there was no way for them to get this camera

to behave properly in the actual open world

with all the various streets, elevations,

and alleyways you could dip into -

not to mention the other street traffic.

And on top of that, they built this mission

with a pretty strict countdown timer,

forcing you to hit the checkpoints in rapid succession -

something that I've always assumed was placed there

to keep you from ever veering too far off the path

and breaking the game somehow.

Still, I've always wondered about

the actual limitations of this mission,

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

whether or not there was any way to escape -

so before finishing the mission, I paused,

started it over, and then this time,

instead of starting the race as intended,

I swung the car into a 180,

driving the car backwards in the wrong direction.

Now, when I do this, the AI driver

immediately begins panicking,

rapidly spinning the steering wheel

trying desperately to keep my car visible in frame,

and then eventually, it turns around 180 degrees

to reveal what looks like the entire open world

of Driver: San Francisco -

seemingly 100% accessible to the player.

Now I drove away from the racetrack and began exploring,

and I kept bracing myself to hit some kind of invisible wall

or failure state for going off course,

but it never happened. It all actually worked.

I merged into traffic

and the second-person camera followed me,

immaculately bobbing and weaving

through the other cars on the road.

It was around this time that I noticed...

there was no timer.

It turns out that Reflections

had generously designed this mission,

intentionally or unintentionally,

so that the mission countdown timer

doesn't actually begin until you reach the first checkpoint -

meaning that if you never hit that first checkpoint,

you can drive around forever.

(car engine roaring)

(car passing on right honks)

This led to what I can only describe

as a transcendent video game experience.

It felt like I was seeing something

that I was never meant to see.

This ability to explore the city as much as I wanted to

all from this wholly unique,

extremely surreal second-person viewpoint:

it felt like a magical experience

and one that almost nobody else

has experienced for themselves.

Now, revisiting this mission

and managing to escape the confines

laid down by the developers all those years ago,

I really wanted to try and push this thing to its limits.

I couldn't resit trying to break things a little:

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

But surprisingly, it held together perfectly.

That is, until I tried one specific thing.

See, I haven't talked about it before,

but this mission actually does have a failure condition.

In the lower-right corner of the screen

there's a health meter,

and it represents the health of Tanner's car:

the car you're chasing / driving.

But if you get into one too many collisions

while driving this car in the second person,

you can actually run out of health,

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

This is actually pretty hard to achieve

on the default mission path they laid out,

but driving into oncoming lanes of traffic

and ramping off car transporters

had taken its toll on my vehicle

and I only had a small sliver of health left.

Wanting to explore this mission as long as possible,

I gingerly pulled Tanner's car into a narrow alleyway

and then decided to try out the one thing

I hadn't attempted yet:

I turned around and drove the car,

in the second person,

directly at myself.

(music)

This put the AI driver in a weird position.

It now had to drive backwards just to keep me in the frame,

and it was also narrowly sandwiched

between the two walls of the alley,

giving it almost no room to maneuver.

I kept driving towards myself,

putting on the pressure, closer and closer, and then...

(car engine roaring)

(car screeching)

(cars crashing)

- [Leila] Nice work.

- It broke.

All at once, the second-person vehicle shoots into a wall,

clips through it,

and then launches hundreds of feet into the air.

Briefly, one frame at a time,

we can get glimpses of the chaos that unfolded:

we see the car inside the wall,

then we see the car's front console flipped over;

we see what appears to be the ocean floor

and then the pavement as seen from underneath;

we see rooftops, the driver's arm,

the sky, trees, abstract geometry -

and then the city from above,

flooded with unloaded geometry.

After that, we see the car spinning and spinning in mid air,

giving us glimpses of San Francisco from above,

before finally getting so high

that nothing can be seen but endless ocean.

And then,

black.

(music)

Suddenly, all at once, the car snaps back to earth.

The health meter for Tanner's vehicle turns blindingly white

and then the second-person viewpoint

fills with an orange-yellow hue: Tanner's car.

Quickly it becomes clear that the second-person car

has somehow spawned inside of Tanner's vehicle,

dealing infinite damage to the car.

(cars crashing)

A deafening crash sound can be heard

and shattered glass flies everywhere,

and then, for a brief moment, right before the mission ends,

the camera inexplicably shifts into Tanner's car

where the car is balanced on its nose,

its windshield shattered,

thrust impossibly through another vehicle.

And then, horrifically, the camera clips

through the back of Tanner's partner's head

and shows us the backside of his eyeballs and tongue:

a truly terrifying second-person perspective

if ever there was one.

(music)

Shaken by my other-worldly encounter seemingly brought on

by pushing this already existential mission to its limits,

I reset the mission

and played it beginning to end one last time -

this time careful to do it the right way,

not wanting to disturb whatever eldritch being

I'd upset by breaking the mission in the first place.

After all, I thought, I know that every mission

in Driver: San Francisco

ends with a continue and retry option,

so if I really wanted to explore this mission again,

I could always hit the retry button to give it another shot

after running through it normally.

So I proceeded to complete the mission as intended -

a mission, by the way, that ends with the antagonist Jericho

actually taking over your body

and attempting to drive you into a lethal car accident:

(car engine roaring) - You mean... Jericho!

- [Leila] Sit back and enjoy the show.

Not many people get to watch themselves die.

- ...a problem that Tanner decides to solve

by, disturbingly enough, shifting

for the first and only time in the game

into his partner Jones' body.

Yes, that partner.

- [Jones] What the heII is going on?

- Anyways, I go to finish the mission

the normal way, staying on the path,

fully expecting the restart option

that appears after most missions to show up.

Instead, I get to the end of the mission, and -

for some reason that I still can't explain -

the only option was continue.

The reset option had vanished.

Panicked, I quickly hit ALT+F4 and existed the game,

hoping I could load up my save file

and play through the mission again, but it was too late.

It had already autosaved over my file

and the mission was gone with no way to replay it again.

(music)

Look, Driver: San Francisco is a game

full of weird, interesting, strikingly-designed missions -

but, to me, "The Target" has always stood out

as the perfect example of what makes this game special.

Video games are an entire medium

built around taking over others' bodies,

and Driver: San Francisco is a richly existential

and metatextual reflection of this idea.

This mission in particular brought these ideas to the fore

in a way that I wasn't fully prepared for

and that I'm only now beginning to wrap my head around,

years and years later.

Even writing the script for this video

felt like a mind-bending exercise

in trying to explain something

that is borderline unexplainable.

You really have to play it for yourself

to get a full sense of how crazy this mission feels.

In designing this mission, Reflections took decades

of 3D video game conventions and turned them on their head

to create what feels a truly out-of-body experience.

That, to me, is an accomplishment worth celebrating.

Please play "Driver: San Francisco."

(car engine roaring)

- [Leila] If you're here, who's in your body?

- [Tanner] Well, no one.

...oh God.

(door shuts)

(keys jingling)

(car revving)

- All right, so a couple quick updates

on the "Driver: San Francisco" situation.

The petition to get Ubisoft to re-list the game

that I mentioned at the end of my last video

is now at over 70,000 signatures, which is insane.

Please, if you have any interest in this game,

please sign this petition.

It now feels like 100,000 is within our grasp,

which is crazy, and I can't believe I'm saying,

but it could happen -

which, to me, feels like an unignorable number.

But! In the meantime, as you might have noticed,

Ubisoft has not re-listed the game -

they have been ignoring the 70,000 signatures we have.

And on a totally unrelated note, not connected at all,

Driver: San Francisco, since my video last month,

has been in the top 10 most downloaded games

on The Pirate Bay.

...totally no relationship there,

not mentioning that for any reason at all.

Just saying, the game is not available

and it's also one of the most pirated video games,

and has been in the top 10 most pirated games

for the past month.

Just a coincidence.

Also, totally unrelated to the fact

that this game is apparently very popular on Pirate Bay,

did you know that if you go to NordVPN.org/babylonian

you can go to websites, illicit or non-illicit,

without being tracked by your ISP or anybody else?

So that means that, for example,

if you were to go to - and I'm not saying you should -

a website that allowed you to download a video game

that is no longer available and can be easily pirated

with just a few clicks

and you don't wanna get an angry email from your ISP

saying you can't do that,

you should invest in a VPN. (laughs)

If you go to NordVPN.org/babylonian

and use coupon code "babylonian",

you'll get 70% off their three-year plan

and get one full month of VPN coverage free.

But yeah, if you enjoyed this video,

please share it with anyone you think would like it,

and/or subscribe to my channel

if you'd like to see more stuff like this in the future.

I've got a lot of videos

in various stages of production right now

that I'm really excited to get out into the world,

and I can finally start thinking about them

now that this one's done.

So yeah, that's it from me for this time.

Hopefully the next video comes out a little quicker.

I've got a lot of ideas that have nothing to do

with Driver: SF, I just... this one

has been on my mind for a while

and I'm glad to finally have it done.

So thank you for watching, and I'll see you next time.

(music)