The Godzilla franchise's drift toward camp was Tsuburaya's sensibility winning, not a betrayal of the original
Critics who scold the franchise for selling out after the serious 1954 original are usually treating Honda as the legitimate author and the later camp as corruption. That reading misses something: Tsuburaya's sensibility — choreographed destruction, engineering-as-spectacle, monsters as entertainment — was present in the 1954 film from frame one. It wasn't smuggled in later. It was always one of two things the film was.
What changed through the late 1950s and 60s was the ratio. Children were the paying audience for the Giant Monster Boom (1962–1973) and they came for the wrestling, not the nuclear elegy. Tsuburaya broke off in 1963 to found Tsuburaya Productions, which launched Ultra Q and Ultraman in 1966 — television formats with no room for Honda's register of grief. The medium and the audience both favored Tsuburaya's half.
The "decline" is a genre finding its commercial center of gravity. One of the two authors who made the original was more aligned with what the audience wanted, and over time the franchise drifted toward his vision. That's not betrayal. That's selection.
Calling Honda the "serious" half and Tsuburaya the "popular" half maps onto Western prestige hierarchies and misleads. Tsuburaya was a more formally inventive filmmaker than Honda within his medium. The split isn't seriousness vs. entertainment — it's witness vs. engineering.
Source claim: What critics call the Godzilla franchise's decline into camp was actually Tsuburaya's authorial sensibility — present from the beginning — becoming dominant as children replaced adults as the primary audience.