In the late 1970s, Toho was looking to revive the Godzilla franchise. Looking for fresh ideas for future films, longtime Godzilla producer Tomoyuki Tanaka commissioned several prominent Japanese science fiction authors to write their own takes on Godzilla. One of these authors was Yoshio Aramaki (probably best known in the West for his Konpeki no Kantai series, an alternate history revolving around a victorious Imperial Japanese Navy in WW2). In April of 1979, Aramaki submitted a story treatment known as either God's Godzilla or Godzilla: God's Angry Messenger. A translated version of Aramaki's original story treatment is now on the main site for anyone who wishes to read it; it's fairly "out there" for a Godzilla film.
The film itself begins sometime in the then-near future of the 1980s, as the comatose form of Godzilla is discovered along the South American Nazca Lines. Meanwhile, a worldwide energy crisis mounts. Cold War tensions threaten to boil over into World War III as the opposing blocs struggle for control of Middle Eastern oil reserves. Just as the crisis reaches it's peak, the aliens return to Earth in a starship emitting strange flashing lights that cause hallucinations and nightmares in the humans that look upon them. Their intentions are not made entirely clear by Aramaki’s treatment; they are describes alternately as merely wanting to give humanity a “warning” against their warlike ways or if they truly wish to destroy mankind in an apocalyptic “last judgement”, and some of their later actions (destroying the Van Allen radiation belt) seem as if they would doom humanity for good.
The ship heads for Godzilla's resting place, unleashing him to wreak havoc upon the world. Aramaki describes his version of Godzilla as being a "a malevolent god, a god of destruction, a being akin to the Hindu god Kali," and as being capable of summoning tsunamis against the coastal cities of the world. Some sources, such as John LeMay, claim that this version of Godzilla is able to emit the same nightmare lights as the alien starship from his eyes. In perhaps the strangest element of Godzilla’s depiction, he is controlled by a glowing, golden humanoid being created by the aliens that calls itself “Jesus, Son of God.” Stranger still, Aramaki declares that “Their relationship is akin to a Jungian schema. The humanoid is the superego, and Godzilla is the Unconscious … humanity is the Ego. Thus, humanity … is, unbeknownst to themselves, under the binding spell of the Superego.” The formerly warring nations of the world now rally under the UN to stop Godzilla and his creators, but all efforts prove hopeless. The aliens, for their part, destroy the Van Allen radiation belt as Godzilla wreaks havoc below.
The story ends in Egypt. Commanding the survivors of mankind to “behold their future,” Jesus stands atop the very peak of the tallest of the pyramids in Giza as grotesque images of mankind’s horrifically mutated descendants are projected on the sky above. As Godzilla “crouches like the Sphinx,” Jesus “ascends on a stairway of light to the heavens,” and the film ends.
Definitely would have been a sight to see if nothing else. Much closer to a "Neon Genesis Evanzilla" than Shin Godzilla turned out with it's odd Christian and Freudian symbolism. It seems that Aramaki wanted Tadanori Yokoo, a Japanese artist with a psychedelic sort of style, to direct (he evidently did have some acting and directing experience under his belt), so the film would have probably had some fairly trippy visuals. According to John LeMay the treatment was even translated to English and presented to Henry Saperstein, and when it became clear it would not be adapted into a film Aramaki tried to get it released as a novel, evidently to no avail.
One thing I find interesting about this draft is that despite Godzilla's unusual origins and depiction is that in terms of symbolism he does return to his nuclear roots, in a fashion. He is unleashed by the aliens to punish humanity for their warlike ways as a crisis in the Middle East is on the verge of escalating into WW3; at the time Aramaki wrote his treatment (1979) Cold War tensions were beginning to mount as US-USSR detente fell apart, with a number of crises in the Middle East (most prominently the ongoing Iranian Revolution and the outbreak of civil war in communist Afghanistan that would lead to Soviet intervention later that year) serving as prominent flashpoints. The energy crisis that starts the war, too, is clearly drawn from the real-life oil crises of the 1970s (the first a result of the Yom Kippur War in 1973, the second being as a result of the aforementioned revolution in Iran).