The fifth issue of the famed Terror of Godzilla comic series commences with the interception of the Soviet missile by its American counterpart, which saves Tokyo from a nightmarish nuclear explosion. An ionic storm from the resulting high altitude explosion sends the world's electronic infrastructure into complete and utter chaos, and further terror ensues when Godzilla is ironically revived by the energies forged in the atmospheric cauldron brewing above the hapless metropolis. Meanwhile, Dr. Hayashida continues to perfect his avian frequency device as Goro and Naoko must face the challenge of escaping a badly damaged building.

For better or ill, the absence of the homeless man (a staple of comic relief found in the film) should be noted. Whether or not this helps or hinders the adaptation is best left to individual interpretation. Dr. Hayashida's relationship with the titular monster tends to be a bit more exaggerated here than in The Return of Godzilla (1984) . He tends to be extremely passionate, and almost gives off a sense of mad obsession. The captain of the Super X, who tended to be more cool and collected in the film, also seems to harbor a bit of the same brand of exaggerated emotion. The love interests, Goro and Naoko, are intertwined with a bit of a different dynamic. Of special note should be Naoko's prominent bitterness toward Goro for initially withholding information about her brother following Godzilla's initial arrival, which does lead to a far greater shift in the relationship in the long run. Godzilla is once more donned by the greenish hue that tends to find itself representing the monster king in many American artistic renditions of the character. It does tend to clash with the film's vision of the nuclear menace's coloration (a very dark charcoal grey); there is, however, a certain natural quality to the comic's particular shade of green that does work for this adaptation.