Dead Take Turns the Horror of the Hollywood Machine into a Psychological Escape Room

By Toussaint Egan | July 31, 2025 | 3:00am

Video Games Reviews dead take

Dead Take Turns the Horror of the Hollywood Machine into a Psychological Escape Room

How do you follow up a game like Tales of Kenzera: Zau, an afrofuturistic adventure platformer with a story inspired by personal loss and grief? For Abubakar Salim, CEO and founder of Surgent Studios, the answer appears to be simple: drive the knife even deeper. Where the aforementioned 2024 title was inspired by the untimely loss of his father, Dead Take, a psychological horror game set in contemporary Hollywood, appears to have drawn inspiration—albeit implicitly—from Salim’s own experiences around and within the entertainment business.

Players assume the role of Chase Lowry, a struggling actor desperate for his big break. Chase ventures out to the palatial Hollywood Hills mansion of Duke Cain, an elusive and ruthless movie mogul, in search of Vinny Monroe, his colleague and friend. Not long after arriving, however, Chase realizes there’s something far more sinister than show business as usual going on within Cain’s professional orbit. You’ll have to trace back the events of the weeks and hours leading up to the night if you’re to have any hopes of finding Vinny before… well, before something terrible happens.

At its core, Dead Take is a “psychological horror escape room” game, challenging the player to probe and wander through the labyrinthine corridors and hidden passageways of Duke’s home. You’ll uncover clues to puzzles scattered in and around the perimeter, wrapping around multiple times over as you piece together the shape of Duke’s grand scheme and your own unwitting part in it.

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Dead Take review

Dead Take is also an FMV detective game, one in which players must collect footage scattered across the house and edit it together using “Splaice” (pronounced “Splice”), a proprietary editing software accessible through Duke’s personal private screening room. The moment-to-moment experience can be aptly described as 2013’s Gone Home by way of 2022’s Immortality, with a generous splash of classic Resident Evil environmental puzzles thrown in for added flavor. Of the many touchpoints I thought of during my playthrough, though, the most prominent one in terms of comparative tone and themes was 2019’s Layers of Fear 2, the oft-overlooked sequel to Bloober Team’s 2016 original.

Surgent Studios’ sophomore release boasts an impressive ensemble of talent, not the least of which includes Ben Starr (Final Fantasy XVI, Hades II) and Neil Newbon (Baldur’s Gate 3, Resident Evil Village) in their respective starring roles as Vinny and Chase. Jane Perry (Returnal), Laura Bailey (The Last of Us Part II), Travis Willingham (The Legend of Vox Machina), and Alanah Pearce (Gears 5) round out the supporting cast of characters, as well as a brief yet humorous cameo by Sam Lake (Alan Wake 2) as a combative colleague of Duke’s. Starr and Newbon’s performances carry the lion’s share of the game’s narrative, but for my money, the standout performance in Dead Take is Duke Cain, performed by none other than the game’s director himself.

While not formally credited for the role, Duke’s somber baritone and practiced intonation is unmistakable from Salim’s own. His portrayal of the aforementioned Cain—an enigmatic and volatile personality with an impetuous temper—reminded me of the late Tony Todd’s performance as the nameless director in Bloober Team’s aforementioned sequel. Both games feature actors who are guided through psychological vignettes, their actions and decisions scrutinized by unseen puppet masters who tease or chastise the protagonist as they plunge deeper into the dark heart of their respective obsessions.

Where Dead Take distinguishes itself from Layers of Fear 2, however, is through its inventive blend of FMV splicing sequences and environmental puzzles which, in the spirit of classic Resident Evil, occasionally feature fiendishly difficult scenarios that push the player’s powers of observation, intuition, and recollection to the test. As you collect new items and ephemera around the house, a conspiracy board will materialize in the backroom of Duke’s editing suite. While this is invaluable in keeping track of the multiple story threads splayed out throughout the game, the absence of a hint system—say, perhaps in the notes app of Chase’s cell phone—makes the task of solving one or two of Dead Take’s notable late game puzzles far more frustrating than enjoyable in practice. It’s important to take note of not only what is said in the FMV clips you collect throughout the game, but also what these clips are titled, as their names may contain motifs or hints as to which ones can be spliced together and which cannot.

Upon launching, the game opens with a disclaimer describing itself as a “work of fiction” not intended to depict any actual people and events and that any resemblance “without satirical intent” is “coincidental.” This otherwise inconspicuous disclaimer feels especially relevant with Dead Take. Power, and the proximity to it, invariably breeds a degree of corruption, and there is no shortage of bad actors in the entertainment business, pun intended. You don’t need to directly cite the likes of Harvey Weinstein or Victor Silva to get across your point; their misdeeds and indiscretions are as archetypal and inextricable from the myth of Hollywood as Romulus and Remus are to the myth of Rome. “There are many men out there who would kill to be where you are, where you stand,” Duke tells another character early on. “Some of them would kill.” Indeed, some men would kill. The question is, would you?

Dead Take was developed by Surgent Studios and published by Pocketpair Publishing. It’s available for PC.

Toussaint Egan is a culturally omnivorous writer and editor with over a decade of experience writing about games, animation, movies, and more. You can find him on Bluesky.