2.8 hrs (later) Friday 27th May, Bristol. 
Game Mechanic Director: Rosie Fairchild 
Writer: Hazel Grian 
Producer: Vanessa Bellaar Spruijt 
Executive Producer: Simon Evans 
Casting: Vanessa Bellaar Spruijt 

There is a really lovely detailed review written about Saturday night which 
I wont attempt to duplicate but will try to supplement: 
http://scaretour.weebly.com/reviews---28-hours-later-2011.html 
Is 2.8 hrs (later) the perfect pervasive game? 
It appears to make real the seemingly impossible desires of interactive 
cinema  putting the player at the heart of a familiar zombie apocalypse 
scenario, - whilst also offering a fully interactive live 
theatre/performance merged with some fundamentally compelling game 
mechanics. In fact the experience of this game seems to exceed these 
comparisons and to invite a whole new descriptive language adequate to the 
combination of aesthetic dimensions being invoked here. 
The player experience is so beautifully thought through, the actor 
performances so perfectly prepared, directed and then improvised that this 
is a truly outstanding immersive aesthetic experience. Doug Francis who 
played the gatekeeper gave a particularly memorable performance that drew on 
the groups interactions with great finesse. From the perfect pitch of the 
zombie screams, through to the final screening for infection every element 
of the experience has been carefully calibrated for maximum engagement and 
immersion. The intense/frenetic and panicky hide and run aspects followed by 
checkpoint interactions seemed also to replicate the balance of some video 
games -  intense gameplay rewarded by the spectacle of a cut scene. 
The fact that the infected get specially marked by make up artists turns 
even apparently 'losing' or 'failing' has only playful consequences which 
further enhances the post-game/party experience.. 
The atmosphere at the end was phenomenal - comparable to the high 
experienced following a truly well crafted cultural experience - there was 
an interesting sense of community, belonging and new affiliations and 
alliances that had formed during the game which endured at least for the 
party.  
Some players compared it to paintballing and bungie jumping but insisted 
that it was more immersive, more thrilling and more consistently storyworld 
driven  and of course longer! Other players described it as taking them 
back to all the childhood games they had forgotten  hide and seek, 
bulldogs, amongst others. What struck me most was the immediate and 
incredibly strong investment by the players in the 'world' and 'frame' of 
the game, their commitment to the rules and their engagement in the collaborative production of the experience. Other pervasive game designers have a lot to learn from this team in terms 
of spectacle, in terms of experience design, narrative, immersion, sheer 
organizational virtuosity and the power to captivate their players and to 
get amazing performances out of their acting talent, their volunteers and 
all the crew who help to make it happen.