Heisei suits looked almost tidentical movie to movie and all the creatures were a marked improvement over their Showa counterparts IMO.
Not by a f@cking long shot, but okay...
I think the ONLY Showa-era monster that truly looked great in the Heisei series was Godzilla film. The '93 Rodan is NOTHING compared to the original 1956 version in terms of both design and execution. The way that little Rodan prop was manipulated was truly pathetic compared to what Toho was able to do almost 40 years earlier. And the original '64 Tsuburaya Mothra was absolutely incredible and moved with so much life and energy. The '92 version glided around like a Macy's parade balloon, could barely move and looked like a silly plush toy. Minya was goofy looking, but that idiotic, bright green anime...thing from Space Godzilla doesn't fit the Heisei universe at all. Kawakita's King Ghidorah (IMHO) was very derivative of the original. But even if it did have a more unique design, damn it's execution and manipulation is so lifeless compared the Tsuburaya original from '64/'65. Look at the jet attack scene from Godzilla vs King Ghidorah and how unbelievably stiff Ghidorah was. You don't see anything like that in the '60s.
Personally, I think going on about deformed puppets, stock footage and nonsense like that are just a bunch of unbelievably ignorant low blows just meant to know the Showa series down a peg. I remember when I was a teenager. The Heisei series was brand new and HOLY poop did they seem amazing. Unbelievable effects. Wow, look at those animated rays! Wow, look at the sparks! Wow, everything is so shiny and new! And you know what, I felt that way for years. Then slowly but surely, as I got older I started refining my tastes and noticed - HOLY poop - some of these effects aren't that great after all, and a lot of it WAS done better decades earlier!
Do the Showa movies have some stock footage and some weird puppets? Yeah. But the imagination, sincerity, creativity and the basic execution of most of this stuff (especially from 1954-1968) blows away Kawakita's drunken "going through the motions" effects in the '90s.