Hollywood Monsters (1997)
Genres:Adventure, Point-and-click
Game modes:Single player
Story:Hollywood Monsters is an adventure game by the Spanish developer Pendulo Studios which was originally released in 1997. Due to the bankruptcy of Dinamic Multimedia by 2001, Pendulo's publisher, Four Fat Chicks doubted that an English version of this " little-known and much sought-after" game would be released at the time
However the game was re-released for iOS in 2012. The game received an indirect sequel in 2011 known internationally as The Next Big Thing and in Spain as Hollywood Monsters 2. Its style is reminiscent of Lucasarts adventure games like Grim Fandango.[2] The iOS release was localised for English, French, German, Spanish and ItalianShow more
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What made this game unforgettable?
What made Hollywood Monsters unforgettable was its unique blend of absurd humor, quirky characters, and clever puzzles. The game starred exaggerated, cartoonish takes on classic monsters like Dracula, the Mummy, and the Werewolf, each with their own hilarious quirks. It also had a catchy soundtrack and vivid art that turned every scene into a visual feast.
Who did you play this game with?
I played it with my family—my mom, who wasn’t a gamer before, got hooked on the dialogue and puzzles (though she still swears the candy wrapper riddle was straight-up demonic!). My best friend and I spent countless afternoons laughing and solving clues together, turning every triumph into a mini-celebration.
What made it fun or challenging?
The game was both frustrating and fun. On one hand, its puzzles seemed almost impossible at times—like using a mummy as a ladder or figuring out how to combine impossible objects. But the absurdity of it all made each victory feel like a mini-triumph. The humor kept you coming back for more, even when you were screaming in frustration.
Why do you want this game on GOG?
I want Hollywood Monsters to get the revival it deserves. Platforms like GOG can reintroduce it to new generations without the hassle of emulators or worn-out CD-Roms. It’s a game that deserves to shine as the imperfect, soulful classic it is—full of scars and memories, just like the players who loved it. Plus, it’s the perfect way to relive those shared afternoons on the couch with printed manuals and laughter echoing through the room.
Like Ron Ashman would say…
"This isn’t journalism. It’s survival."
This is by far one of the hardest graphic adventures I ever played, and I loved it. It took me A WHOLE YEAR to figure it out how to get through some parts of this game. Something that never happened me with the new games in general.
You start the game a Sue, a journalist that's invited to the Hannover Mansion, a place where Hollywood Monsters celebration is taking place. The most important monsters from all movies will be there, so you gotta do your journalist job and interview them to get some juicy details for your newspaper.
However, something unexpected happens and you got kidnapped in the party. So after a first "tutorial" level you get in the shoes of Ron Ashman, one of Sue's work companions which goes to the Hannover Mansion after the party to search for his missing companion and unravel the mystery of a whole interesting plot that could change the movies forever.
Your search for Sue gets you all around the world because you gotta interview the monsters that were in the party, and they all live in the most remotes parts of the world. You gotta interview Dracula in Romania, The Mummy in El Cairo, and so.
The game is a point and click graphic adventure with A LOT or personality and humour (Some dark humour too, something that feels like a breeze of fresh air considering these last years where everything got "softed", specially comedy).
It's a hard (REALLY HARD) adventure game, with tons of humour, puzzles, a lot of personality, interesting characters, great music, great graphics.
And the most interesting thing? It's not "linear". You can go explore the different locations in any order you like, and the objects you get in some places may help you advance in others, so you really feel you're actually investigating, the game gives you no clue on how to advance, and doesn't "hand hold" you.
It's one of the first point and click adventures that I played that were fully voiced in Castillian Spanish. It's a fun and loving homage to the classic monster movies of the 50's reimagined as if they were actors working in Hollywood. The animation has a charming cartoonish style that fits well with the comedy. One of my favourite games that sadly can't access anymore.
Growing up with this cast of characters reinforced my love for movies and art. Humour in Hollywood Monsters was a big part of my enjoyment of it. Standing shoulder to shoulder with my family members trying to find clues and giggling at the sharp and witty comments. Some of which still linger in my memory, years after playing it. Truly, a testament to the writing in it.
Everything in here, from environment design, narrative, dialogue and music, is a package so close and dear to my heart that I wish it had proper compatibility with modern systems so I can, once again, ask a little girl for a flower because it is a vital piece in a world-spanning, thrilling adventure.
FreelancerEight hundred years prior to the start of our story, bitter conflict divided all of mankind. A handful of colonists struck out on their own to begin anew - far away from the Earth and its turmoil. Several ships were launched with enough equipment and supplies to give the hundreds onboard a fighting chance - but since the area around far-off Sirius had never been surveyed, no one really knew what to expect. What they found was a new frontier of free-flowing natural resources, unexplored territories, great wonders and lurking dangers. Each ship, representing the clusters of people and their earthly place of origin, settled into different parts of the galaxy pre-selected by their ship-board computer to give them the best chance of survival.
Life was hard in the beginning, but over the 800 years the different colonies prospered and expanded their territories, claiming more and more systems for their own. Survival and propagation eventually led to growth and profit as each of the colonies developed specialties and fostered commerce. As the colonies grew and time passed their connections with their roots on Earth dwindled and they lost their memories of the conflicts of the past. Soon their attention was dominated by new, more immediate conflicts. Feelings of lost ancestral connection spurred anachronism in the look of the great cities, and created a somewhat distorted image of each colony's cultural heritage. In the ever-expanding outer edge of the territories, frontier lawlessness prevailed.
The Houses: Each shipboard colony that left Earth carried some memory of its origins in its name. The Liberty carried Americans, The Bretonia flew from The United Kingdom and surrounding territory, The Kusari from Asia, and the Rheinland launched with Germanic cargo.
As each ship settled and colonies began to expand, they knew little about each other and their advancing development. Finally, little by little, the individual colonies found each other and began to set up trade routes to link their systems for commerce and solidarity.
Today, with each colony firmly rooted in its respective corner of the galaxy, the colonies rely heavily on each other for trade and industry but also compete for resources and new territories in the Border Worlds. The colonies mandate member governments in "The New Alliance" within the Sirius sector. To control conflicts, each colony has forged alliances and treaties with others as they have grown. Competition remains fierce, however. Struggles rage for supremacy in business, commerce, resources, power and control. There can be tenuous peace between colonies' political agendas, but the grabs for holdings constantly unsettle the volatile frontier.Our Pick Top Trending Science fiction Sandbox
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