Friday, April 4, 2025

Modules as Touchstones

As a follow-up to yesterday's post about "off shelf" campaign settings, I thought I'd write a bit about a related topic: pre-packaged adventures, often called "modules." Old school RPG lore has it that, at the dawn of the hobby, few people, certainly not the fine folks at TSR Hobbies, thought there'd be any market for pre-packaged adventures. Then as now, referees took pride in crafting their own adventures. Just as worldbuilding is one of the great joys of roleplaying games, so too is the process of developing a scenario tailored to one’s own vision and tastes. Given that, why would anyone turn to a pre-packaged adventure module? Why run The Keep on the Borderlands, Masks of Nyarlathotep, or The Traveller Adventure when one could simply create something original?

The greatest virtue of pre-packaged adventures is the shared experience they foster across the hobby. To put it simply: a great module is a touchstone. It links players and referees across tables, generations, and even continents. There is something remarkable in the fact that so many roleplayers, across decades, have ventured into the Caves of Chaos, uncovered the secrets of Saltmarsh, or braved the alien horrors of the Barrier Peaks. These modules have become part of the collective consciousness of the hobby, a language that players can speak regardless of where or when they first sat down at the table. The mere mention of certain locations, villains, or twists within these adventures can evoke instant recognition, stirring memories of triumph, disaster, and everything in between.

This shared literacy is no small thing. Roleplaying is, by its nature, ephemeral. Each campaign a unique blend of personalities, decisions, and improvisations. Unlike a novel or a film, no two games unfold in exactly the same way. And yet, within that variability, a published module provides a thread of continuity. When two players who have never met before can swap stories about their first run-in with Bargle from the solo adventure in the 1984 D&D Basic Set or how they barely escaped Strahd’s castle, they are engaging in something akin to an oral tradition, passing down tales from table to table, from one generation of gamers to the next. Modules provide the foundation for that tradition, ensuring that, even as campaigns come and go, some stories remain universal touchstones.

This is especially valuable in an era where the roleplaying hobby has expanded dramatically. The old days, where most gaming circles were small and isolated, have given way to online communities and virtual tabletop play. The existence of widely recognized modules gives newcomers a way to connect with veterans. They provide common ground in this expanding landscape. Even for those of us who prefer homebrew adventures, having a few classic modules under one’s belt is a kind of shared literacy that allows one to participate in a conversation that stretches back to the origins of the hobby itself. In a way, running a module is a way of stepping into history, reliving and reshaping the same challenges that earlier players have faced.

Beyond simply fostering camaraderie, shared adventures also provide an entry point for new players. A new referee faced with the daunting prospect of designing a whole scenario from scratch can take comfort in the fact that many have run The Village of Hommlet before him. A new player can look up discussions of Tomb of Horrors and know that he is stepping into something larger than his game – a tradition of play that stretches back decades. Even when a module is adapted, altered, or expanded, it still serves as a bridge between individual tables and the broader history of roleplaying. There is something powerful in knowing that, even as each group makes the adventure their own, they are still participating in the same grand tradition of play.

Consider the sheer number of classic modules that have shaped the way we think about adventure design. The open-ended nature of Keep on the Borderlands, the intricate mysteries of Masks of Nyarlathotep, the faction play of The Enemy Within, each of these has not just provided individual groups with hours of entertainment but has influenced the way the hobby itself has evolved. When someone describes a scenario as "like Keep on the Borderlands but in space" or "like Tomb of Horrors but with political intrigue," they are drawing on a shared vocabulary that allows roleplayers to communicate complex ideas in a few words. In a way, these modules form the grammar of the game, the foundation upon which new ideas are built and communicated.

None of this is to say that referees should rely exclusively on published modules. There is something deeply satisfying about crafting one’s own adventures, tailoring them to the specific interests of a group, and introducing them into a campaign. But, as I said about pre-existing settings, the use of adventure modules is not a lesser choice. It is, rather, an acknowledgment of the rich history and communal nature of the hobby, an embrace of the shared stories that have shaped roleplaying for decades.

There's something deeply satisfying about the shared language adventure modules provide. They can tie your table into the larger tapestry of roleplaying history. They allow players across time and space to say, "Ah, you got your soul sucked by Acererak too?" and know, in that moment, that they are part of something greater. The modules may differ, the details may change, but the experience – the shared adventure – remains. I think that's something worthy of celebration.

22 comments:

  1. TSR may not have realized the potential for modules for a while, but there were others who saw the market for them immediately, especially for solo modules in the days when finding a group was a difficult task in many areas. Tunnels & Trolls had Buffalo Castle on the market in 1976, same year as Wee Warriors' Palace of the Vampire Queen, the first 3PP D&D adventure. The first TFT adventure was Death Test in 1978, and was in the works before TFT even hit shelves.

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  2. There are many reasons why prepackaged adventures remain a staple of the hobby. They give the DM a chance to experience the unknown along with the players. They provide inspiration. I have such good memories of X2 Castle Amber (flaws and all) that I incorporated parts of it into the history of my campaign world. They give you new ideas. And they can be fun to read.

    The Heretic

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  3. The problem is the published modules often taught sloppy or outright bad habits like far to much magical loot or railroading.

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    1. I rejected railroading in modules from the get go.

      And in my first AD&D campaign, we had fun with the magic items. Though at one point we also did a magic item reduction.

      These days, I prefer systems that have other ways to moderate loot. RuneQuest features relatively few magic items with all the cash loot being used for training to advance your character. Cold Iron features mostly disposable items (single use potions or the few uses you tend to get from charged items).

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  4. Jim Hodges---
    The Keep on the Borderlands was my first introduction to Dungeons and Dragons, as it came with the basic set. (At fourteen the word "keep" as in "castle" wasn't yet in my vocabulary, so I thought it referred to a mission to "save" the borderlands, by keeping it from being destroyed.)

    Maybe my group was unusual in that we played modules almost all the time and it was only when one particular friend DM'd that we'd adventure in campaigns he authored. His settings weren't bad at all but he had a grating habit of insisting we go certain places lest we miss out on a particularly cool feature he wrote in. (Once he lost his mind trying to make sure we backtracked to send our party's thief down a well lest we miss picking up a map. We later agreed we should've messed with him by conspiring not to go to the well but honestly I think he'd have had some sort of meltdown!)

    Side note, today that friend is struggling with addiction and his life is in a terrible place, prison probably looming, but about two weeks ago he sent me a text saying the most meaningful times of his entire existence were playing D&D with us in the mid-80s.

    Truly that made me feel like crying to read that, and I'm not much of a weeper by nature.

    The hobby has lifelong meaning, folks.

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  5. There’s nothing wrong at all in using a module, especially at the beginning phases of both the GM and player like. And you can even learn quite a bit from them regarding how to put together a storyline, NPC generation, mapping for both overland and dungeon environments, you name it. But just like when a band is using cover songs when they play, or a writer creating fan fiction, there is a point when you just have to put aside pre-existing material and come up with your own ideas, either written out before hand or on-the-fly right at the table with a group of players. Doing all of this not only helps the GM becoming even more creative and less dependent on published material, that overtime, will become a crutch to them as they’ll feel less confident with their own ideas; especially if they use a published setting and the “feeling” that they need to get it exactly right.

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  6. When I was ten I thought it meant to "stay" on the Borderlands. :) sort of like "keep" on your toes. Maybe I just didn't notice the "The" in the title.

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  7. While I recognize the touchstone aspect of modules, that mostly isn't a factor in my gaming (though there has been some degree of touchstone with RQ, but I actually make little use of the most commonly referenced touchstone RQ modules).

    I mostly use modules because, like using someone else's setting, they save me time and provide a more varied game experience than I would likely come up with on my own without the prompt of a module. But I have lots of room for adding my own touch because the bulk of my module use is using D&D modules in non-D&D games (hmm, I think the last time I used a D&D module for D&D was in 2006...). In my RQ campaign, I've only used 4 RQ modules for more than bits - Rainbow Mounds from Apple Lane, Snake Pipe Hollow, Sea Cave (RQ Classic kickstarter), and Lair of the White Wyrm (White Dwarf magazine). I have used little bits from Pavis, Big Rubble, Borderlands, Shadows on the Borderland, and Griffon Mountain (see, all those touchstones that I haven't actually used much from...).

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  8. I remain a fan of the published adventure. I've had a lot of fun with them over the years and there's many fine reasons to play with one beyond just the shared touchstone experience (which is definitely a nice thing). many of them are very well constructed and written and can teach you some things about how to create your own adventures, even if it's just one memorable encounter. And for busy adults who really want to play...it can take some time burden off the DM and make actually playing viable for people with limited free time and challenges in scheduling.

    Besides, who hasn't rolled their eyes at a gamer who claimed to have gotten through the Tomb of Horrors solo without dying on their first attempt? :P

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  9. Although I generally choose my own settings over published (not that I haven’t trod from one end to the other Glorantha, Oerth, and a few others), I don’t have a problem with published adventures, usually dropping them into my settings pretty seamlessly alongside my own stuff.
    However, I will say that I gravitate towards site-based material (Keep on the Borderlands, Hommlet, etc), rather than story-driven adventures (ie - railroads).

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  10. I've always had a strange relationship with 'modules' (pre-written adventures in general). Since my earliest days in the hobby I modified these adventures to a greater or lesser degree.

    This has probably resulted in my having less of a connection with other gamers who have all played the same adventure the same way. Why I gotta be different? lol

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  11. Modules are a great example of a multiverse being woven. When you think of the parallel earths of DC or the What If universes of Marvel, they frequently diverge from a similar moment in time, but in this universe, something different happened. Every module is a parallel universe that changes the moment each table encounters it. Comparing those stories is like reading What If? comics.

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    1. Hrm. That's actually a pretty good analogy; I never thought about it that way. Thanks for sharing.

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  12. Great post, James. Thank you for it. I also find that adventure modules get me fired up to play some D&D, whether I'm going to use the modules I'm reading or not. It's no coincidence that the most active period of my D&D career coincides with the years I had a subscription to Dungeon magazine; every month it would land in my mailbox, I'd read through its adventures, and it would make me want to get the gang together for some RPG mischief. :-)

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  13. As most of my gaming these days is with kids (initially my daughter and her friends and then with town kids at the library) i subscribe to the touchstone adventures theory to an extent.

    Since I’m running _13th Age_ this means using both my own things and some of the broadly played starter adventures for that game (“Make Your Own Luck”, “Crown of Axis”) and translating older B/X and 1E adventures for them,(“Rahasia”, “Quagmire”, “Dwellers of the Forbidden City” and this summer they will be tackling “Expedition to the Barrier Peaks”) because I agree that it’s important that the kids have some awareness of… touchstones for… our shared history.

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  14. What perplexes me still is how the DMG is full of Gygaxian Mileu Building but then so many of the “classics” are single sites or tournament modules.
    Nb: i consider mileu crafting to be harder than stocking a dungeon and more worthy of support

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  15. I enjoying running and playing (and reminiscing about) published adventures, but I must admit I feel far more comfortable running adventures I've written or published adventures I've re-written and expanded. Published adventures are supposed to be easier to run, but I have to work harder to feel more at ease with them.

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  16. For Gamma World, "Legion Of Gold" was almost a reset of the game around a quasi-D&D setting with elements of western adventure and a campaign setting that was less apocalyptic and more magical in its properties. You had Ancient objects and the titular figures, but for the most part life seemed less nasty, brutish and short than it was painted in the first edition. What it lacked in realism I found it made up for in immersive charm. I wanted to keep playing around the Barony of Horn and have my character win some rank there. Anyone else?

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    1. I adore Legion of Gold and consider it perhaps the single best thing ever published for Gamma World. I much prefer its vision of GW over what we got in nearly everything else.

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    2. 100% agree! Legion of Gold definitely changed my view of the game. I never really liked the “you’re from a small village of ignorant, primitive people disconnected from the world around you” go to start presented in the core rules.
      The Barony of Horn fired my imagination on all cylinders.

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    3. That first edition set-up had its place, but its open-ended nature (find a regeneration machine or a solar-powered tank) killed many campaigns before they began. And when was your adventure party supposed to go back to the village with all the Ancient loot they recovered? Invariably that village was left to ride out its future alone. Which I still feel guilty about.

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  17. Not only is Legion of Gold the best supplement ever made for Gamma World, but it’s simply one of the best modules ever! You can play it as a single adventure or make it completely sandbox and let the PC’s discover things themselves. .

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