Eline's intelligent robot pet Fojii is found in the ship's docking bay, and after updating its data offers Hayao assistance in tracking down the missing crew members.

While searching the ship for clues, Hayao discovers the doctor's cryogenic pod has been used when only she should have access to it, and the astronomer's favourite food (hamburgers) is found littered in one of the storage bays.

In a briefing room, a tape recording of Eline's song can be found, and it starts playing randomly over the comms as the player explores the ship only to abruptly stop.

Hayao and Eline manage to escape due to the commander's sacrifice, closing the door behind him, pushing the two out to safety on the primary ship.

The monster informs Hayao that it has taken control of the ship and plans to head for Jesus in order to conquer mankind, killing them for the sake of advanced evolution.

The monster is disabled long enough for Hayao to jettison the creature out into space, but not before hearing - telepathically - the voices of all the crew members that were killed.

Hayao and Eline hold one another on the ship for a while, staring into the void of space, knowing that they will have to tell the tales of their fallen colleagues and prepare Earth for a future confrontation when Halley's comet returns.

Jesus was developed by a small group working at publisher Enix in an office adjacent to the seminal Dragon Quest series.

[3] The story for Jesus was penned by Koji Miya, a freelance author of several puzzle books who also wrote an adventure adaptation of the 1985 Sakyo Komatsu science fiction novel Tokyo Blackout.

[4] The game was programmed by Takanari Suzuki (also known as Geimu Kiyoto/Kyoujin) whose previous credits with Enix include Arale no Jump Up and the PC-8801 port of Xevious.

Suzuki was reluctant to work on Jesus as he was disinterested in adventure and role-playing games, but was informed that the shooter genre he preferred was becoming less popular at the time.

[8][9][10] Shintaro Majima was the artist for Jesus and had previously contributed graphic design and package illustrations on other Enix titles like The Earth Fighter Rayieza, Savior, and the Famicom port of The Portopia Serial Murder Case.

[4] Due to small screen sizes and a limited number of available colors on earlier PCs, Majima alternated hues in checker patterns in order to bleed them together and give the appearance of a larger pallette.

[4][3][5] Majima pointed out that the use of music in Jesus was unique at the time in that it was similar to a film soundtrack, playing constantly in the background instead of just at pivotal moments or during screen transitions.

A Famicom port developed by Chunsoft and published by King Records, fully titled Jesus: Kyōfu no Bio Monster, was released in Japan on March 17, 1989.

Game overs, minigames, puzzles, and sexually-explicit scenes were all removed while the robot sidekick FOJY was made into a comic relief character.

[14] Majima began contributing to the Dragon Quest series shortly after the release of Jesus II and went on to become president and CEO of game studio ArtePiazza.