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Multi-layered traps and demonic snares are in play everywhere, and some of the rooms have acquired mythic status: The Forsaken Prison, The Chapel of Evil, The False Crypt, The Chamber of Hopelessness. Today’s gamers accuse it of being ridiculously unfair, and they’re right, but they don’t realize that’s a compliment.
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It gave DMs a license to be punishing off the scales, and players the okay to be masochistically thrilled by impossible challenges. The mother of all killer dungeons is revered by everyone, even victims who insist otherwise. Mixed in with the TSR classics are three Judges Guild modules and a couple of Roger Moore specials from Dragon magazine. This is opposite high fantasy (some might say cheese fantasy), where heroes are often worldly saviors, the most obvious example being Dragonlance which took over the game in 1984. In simple terms, pulp fantasy involves morally ambiguous heroes who tend to face personal or localized threats out of self-interest. Lovecraft (Cthulhu), Michael Moorcock (Elric), Clark Ashton Smith (Averoigne), and Jack Vance (The Dying Earth). This was also the era of pulp fantasy, when D&D was under heavy influence of writers like Fritz Leiber (Fafhrd & Grey Mouser), Robert Howard (Conan), H.P. Players made real decisions and DMs were trained to expect the unexpected.
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In the old-school, plotting was mostly left to the DM and stories grew spontaneously in game play. These were the days of sandbox designs, before adventure paths took over and railroaded players into pre-determined stories. I hold a classic to be a module published between the late ’70s and the middle of ’83, with a few exceptions falling outside this window. Here are the classic D&D modules ranked from best to worst.