In a flashback to 1943 hitler sends out a hitsquad to kill the godwalker of the flying woman.

Death of a Godwalker

This is pure pulp, and should be played like that. Don’t let them spend too much time planning. Make them do “Heil Hitler” a lot. Don’t push the horrors of war to much, just enough to make the contrast to the final scenes clear enough, but do kill a LOT of people in this adventure. The year is 1943, and there’s a war on.

The players are a supernatural hitsquad working for Adolf Hitler, tasked with taking down the first godwalker of the flying woman. Hitler thinks “the Aryan Supreme” would have made a better archetype, and belives that sending a suitable candidate to kill the current godwalker of the flying woman will give enough supernatural omph to overthrow her and install the Aryan Supreme in her stead. The chase goes first to Tunisia where she escapes as soon as she realises she’s outgunned, then continues with some furious action at her fortress in the jungles of Brazil, goes through a couple of otherspaces for wierdness and finally ends with some lower-key snooping around in semi-rural Sweden.

Claus – the Future Archetype of the Aryan Supreme

(use the stats for Eponymus, and add the mental drive of Simon Dulio)

Ilse – Megalomanic Phobomancer

I used a beefed-up version of Phobomancy from the website, and she’s just back from Concentration Camp duty, so she’s got lots and lots of charges.

Wolfgang – Accountant Werewolf

Accountant with some combat training and a soul skill: Werewolf that gives him +50 in relevant skills (bite, run, track) and 50 supernatural health points.

Manfred – Supporting Character

Skilled combat pilot. Soul skill “Supporting Character” that makes people overlook him when others are around. Surprisingly effective in combat – air-to-air and otherwise. Got marks all over isolation. Has his own combat airplane.

The characters are all formally part of the SS, and have sworn allegiance directly to Adolf Hitler, and have the benefit of his the True King channels.

First scene: Meeting with Hitler (a holy man). Keep it brief, pretty much “I have a mission for you, Himmler will brief you, fail me not, the future of the fatherland depends on you all, especially you, Claus.”. His office is behind quite a lot of guards, pass through the truly magnificent office of a proxy lookalike and end up in a simpler, yet stately office full of wards, true king symbolism and nazi kitsch.

(I had Hitler tell them that it was vitally important that Claus was the one to strike the killing blow. It made them a bit more cautious than I would have preferred, but worked out right in the end.)

Briefing with Himmler. Briefing room, pictures of Ms Silversved, map over the area in Tunisia where she is at the moment, in blanco orders for the local commander. Some questions are actually answered. Basically the briefing is:

There is this flying woman who have been causing trouble for our troops. We have been unable to scry her before, but we have made a breakthrough. She’s in Tunisia. Kill her.

Landing in Tunisia is hot and pretty uneventful. The commander is irritated for the interruption, but turns polite fast. He puts his 200 soldiers, 5 halftracks, two tanks and single scout airplane to their disposal. He has heard of the woman, but never seen her, and dismisses her as superstition.

The flying woman is in a small village in a rocky desert valley. She’s dressed in local clothes (full burkha) and pretty much impossible to spot among the other women. There are about 500 women (her personal cultists) in this village, and no men at all.

At the first sign of serious trouble, there is a sonic boom (the first ever in recorded history, her godwalker channel is supersonic flight) and she is gone. Manfred can follow her for a while, but looses her quickly, she’s just too fast. She flies to the west.

Cut to the characters in Berlin, standing before an oracle of your own choice (I used a gypsy woman strapped to a chair with two cute nurses keeping her symbolic wounds open with scalpels and feeding her blood from bags, but that’s just me). The new location: the jungles of Brazil.

A month later. The coast of Brazil. On one side: the characters, the battleship “Graf Moltke”, its battery, its amphibious planes, and 1200 marines. On the other side: the Godwalker of the Flying Woman, her ancient pyramid fortress, a toxic rainforest jungle, amazonian indian cultists and flying, whispering toothsnakes. Have fun!

Think:
Random, very large explosions from the battleship, to far away for any real precision, radios breaking down from the humidity, vicious traps, jungle animals coming to the aid of whatever side the statosphere (the GM) wants, ferocious charges from poorly armed natives, toxic darts from ambushes, lots and lots and lots of guns, flamethrowers, grenades, soliders panicking. And Claus in unwieldy cermonial robes, cermonial armour, cermonial shield.

Eventually the nazi airforce manage to keep the godwalker earthbound. On the top of the pyramid a ceremony is in full progress, chanting cultists, strange lights, even more whispering toothsnakes. At the dramatic time the ritual opens a 100 meter portal/globe on top of the pyramid and the godwalker flies inside.

If they insist on not following her, the next scene is back at the oracle…

The portal leads to “the elemental plane of air”. Flying inside is a fine idea, but anyone can fly if they just try. It’s just air, clouds, tearing wind, toothsnakes and a sense of falling, but not in any particular direction (actually you fall in whichever direction you think you should).

The godwalker is not so fast here, but eventually manages to get away. She flies towards a featureless wall/ground of brass. She falls into one of many, many dark, seemingly bottomless holes, holes that turn out to be about one kilometre across. (note that it is not possible to stand at the edge of these holes, gravity doesn’t work here, and the winds are quite powerful)

The players follow her or not, eventually they have to fly/fall inside ONE of the holes, there is nothing else here (except for the snakes and the wind).

They end up inside a cave. They don’t fall in, there’s no sense of transition, no sudden jolt, they are just there. If they flew an airplane into the hole, the plane is right there with them, and quite impossible to get out. The caves seem natural, cramped (no 10X10 feet corridors here and are part of a system that stretches on for a long, long time. After a couple of days of walking, crawling, pushing through very narrow passages, seeing blind, whitish, strange flora and fauna (I like white scorpions myself), and very cold water (tracking her is easy for Wolfgang, if not they still should move). Give them a couple of reliable flashlights at this point…

After a while they enter a warmer cave, with cromagnon-style paintings of female/motherly figures. The next cane is similar but with more typical hunter motifs. The next is a lot warmer, has no animal paintings, but many paintings of men, probably fighting each other. In the hands of one of the figures are the unmistakeable siluette of a modern (1943), german submachinegun, the same type that has been hanging on Ilses hip all this time.

Basically they are in a series of caves dedicated to/inhabited by the different archetypes. Have them go through a few of them, perhaps through one that’s important for you current campaign. Eventually they feel fresh air on their face and half an hour of further crawling they are in the light.

Now, I had them coming up behind the back of a very surprised godwalker of the guardian who’s mission in life was guarding these caves against intrusion. Eventually he let them go (he is guarding against people coming IN, after all) and even let slip that she did indeed come that same way a few days ago, that she was hurt but could still fly and that she was heading home to Sweden. I did this because it tied into my regular campaign, so feel free to do something else.

Cut to: a train full of german soldiers on their way to Norway. (These “germantrains” are still a sore spot for many elderly Swedes, Sweden was supposed to be neutral at that point). The Characters are inserted among them. The train has a malfunction and stops in the middle of the woods at night, the characters disembarks to meet their contact shortly after the train has moved on.

The contact is a german-friendly swede who takes them to his farm, a rural-romantic paradise where everybody speaks bad german, is blond, blue-eyed and smiles at them. If you can get a contrast between the horrors of war and this – all the better. The godwalker stays with her aged parents in an idyllic house in a quiet street. Play this by the ear, just remember that neither of the characters speak or understand Swedish, and this is wartime, so they will be arrested for espionage if they are too obvious. (pity the poor policeman trying to arrest either of these characters). If they are cautious they should be able to assassinate the unsuspecting godwalker.

I choose Sweden for this last scene because I live there and it’s set in my home-town. (and my regular campaign is set there as well) You might do well to do something similar.

When I played it, Ilse shot Claus in the back of the head just before shooting the godwalker. I ruled that she did indeed become the new godwalker of the flying woman and she flew away.

Yep, it surprised even me…

Should I play it again in similar circumstances I would tell how they buried the godwalker in the woods somewhere, literary throwing the regular group a bone to play with, godwalker bones no less!