Of course, this depends on what you are trying to convey, but I would also say that paying attention to your gutters also helps to depict action effectively.
Action doesn't need to be these sweeping motion blur movements-- don't be afraid to break up action into several panels.
The gutters are acting as time between the panels-- you can use them to great affect to emphasize action.
I don't know about the "actually showing it part"-- just don't do it!
Show it, don't say it! 
For me, I tend to depend really heavily on the art itself for depicting movement -- trying to find some way in the artwork to show the followthrough/the reaction to the motion --
So like, the piece of grass that's kicked up in that first panel, or all the fur on the zombie dog in the second panel flying in the opposite direction, and the way the debris flies in the "geez you're fast" or the glass shards in the last panel. The "TOUCH" panel also has some warped lineart on that sleeve to show the sudden movement!
I do use motion lines a BUNCH too, but whenever I can I try to make the artwork show that motion & followthrough even before the motion lines are added.
@nessiefynn This was a pretty nice way to articulate something I've kind of grasped at intuitively. Definitely something I'll keep in mind.
@agentfink I've used "gutters" (is that really what they're called?) for time passing but I haven't used it for a whole scene like that. Thats a pretty elegant solution to breaking up that panel that I wish I had thought of haha. It splits up the scene both visually and over time.
@shazzbaa I really considered making speed lines minimal when I started! But I felt like my actions scenes would be too flat since I envision them to be very dynamic (if that even means anything) like LOK and TLA. Obviously they're different mediums so it would be hard to bring that feeling.
So far it seems blurs are out haha but I thought I'd show you guys what I did for a panel, to give blurs one last HURRAH! This is a super exclusive sneak peak so please tell me what you think =]
Lower opacity:
Yup! Those are gutters! Sometimes just really studying comics you like, and seeing how they depict action and movement can help give better story and time sense to a comic. I just recently finished Locke & Key-- great since of movement with well chosen framing.
As for your new panels you're showing, have you considered not having them? Her Line of Action is strong enough to convey she is moving forward in the space. So unless she's super human and incredibly fast, maybe it can work without the blur.
Without knowing the context of the other panels... if this is a intense, dramatic moment, maybe have a tighter shot closer in on her?
If you really want to keep them, I prefer the lower opacity.
(also, if you want fast speedy action fiights, maybe checking out The Flash will help).
I dunno, she feels kind of stiff without it, but perhaps I need a second opinion.
I've added some more context. Basically the character in the background took a heavy blow to the noggin and when he gets his wits again all hell is breaking lose.
I thought giving her movement lines would create more contrast with him, who's standing still. Also, I just realized I used some gutters here too haha
So much good advice here, but I'll have a go too! Ultimately movement is best shown with a really good pose (definitely check out what @nessiefynn is saying), and thankfully through the grace of stylization you can alter a pose to be more dynamic to the movement you want. I feel where you lack at the moment is that all your characters feel too stiff and their bodies aren't communicating the movement you want. To help with that, do a lot of gesture drawing! (I think has also been said)
A trick I like to use, is to use a character's clothing to imply movement. Comic book artists have been doing this for years... You think capes are just for looking cool? Nope! It's also so those punches and acrobatics are emphasized with the leading lines of a flowing cape! You can use anything that trails behind a character. A tail, a scarf, baggy pants, even a long coat work great to show movement. These objects always follow inertia, so the reader can infer if a cape is twisting around, perhaps the character has turned around quickly. It doesn't work for every character mind you, but it's nice to keep in mind.
Edit: Also! Long hair... I noticed even though your character is moving fast her hair seems glued to her head. Don't be afraid to really get crazy with how much hair moves!
@JessJackdaw Ugh yes you're totally right, I have such a difficult time of imagining what her hair would be like blown back some times I don't bother. But now I can't unsee it haha. Thanks though.
I should also mention, the drastic improvement in my coloring is thanks to @shazzbaa and everyone in my other thread who gave really awesome advice on coloring scenes. My mind is still exploding by how much clearer things look!
This.
And is the character who is standing the one who was knocked out? As far as pose and continuity, if he just came to, he should still be on the ground, or reacting to the situation...
If you ever hit a snag like this, it's always a good time to search for reference! Don't ever be embarassed to look at photos, because even the professionals do it. Heck if someone asked me to draw a rhino really well, the first thing I do is gather reference. Lots and lots of reference.
Found this pretty quick! Her hair might look something like this actually, or maybe even more drastic depending on how fast she's moving.
Speedlines and motion-blur helps, but when it comes to depicting the motion of things, you need to consider stuff like dynamic poses and body-language as well.
To that your first example, @El_Psy_Congroo - the big centipede-beast is throwing your character to the right. However, your character while in mid-air looks as if he's, well, out for an enthusiastic stroll. There's nothing about his pose that says "I'm being hurled through the air and I really don't like it".
If he's being thrown, his pose and body-language should communicate that that is what's happening, even if you're going for a more comedic angle than a serious one.
Here, I did a quick and dirty draw-over of how you could have repositioned them - remember, with motion, exaggeration is your friend!
Exaggerate the curve on the centipede creature, and draw the character being thrown actually being affected by being thrown.
ALso, in your second example, with the swords being drawn? Instead of writing "draw" above both hands - show the blades being halfway out of the sheaths, and turn the "draw" into an actual sound-effect - like maybe "shhhhing" or "shhhhkt" or something!
And here's another draw-over of your latest example sequence: 
I exaggerated the girl's pose more, making her lean into her motion a lot more. Probably not a lot of people run with their legs drawn up that close to their body - but it makes it look more like she's running. Also, I made her hair blow in the wind a bit, and stretched her arms out backwards a bit more. She's holding those swords - they can be used to lengthen the visual line of her arms, to exaggerate the motion of them even more.
Also, I drew the person in the back in a more dynamic pose, as though they are actually reacting to the miraculous dodge of the giant monster - in your original version, they're just sort of... standing around? If I was looking at a giant monster, I wouldn't be doing it as though I was posing for a photograph, you know?
Comics are a static visual medium, not an animated one, but a lot of similar rules apply.
Exaggerate stuff
If you draw someone running and leaning forward as they do it, have them really lean into it. Like, almost bent double. If someone is throwing a punch, make sure they've got the weight of their entire body behind it. If they're falling, have them brace visibly for impact.
Exaggerate angles, too! If someone is falling from a high place, don't just draw them from the side - draw them from below, or from above, at more extreme angles to really amp up the impact of what is happening.
Curved lines are your friends
The line of action has been mentioned already, and I promise, that one is really helpful. When you sketch a pose, curve it. Compose the panel in such a way that you lead the reader's eye through the curve of motion.
Even when standing still, people are not mannequins
There is dynamism to be found even in static poses. Hardly anyone just stands with their feet a shoulder-width apart and their arms straight down at their sides. Most of us fold our arms, or place our hands on our hips - or in our pockets - or lean our weight on one leg or the other, stand up very straight or slump a little because we have either good or bad posture, etc.
Motion has an effect on materials
Clothes flap in the wind! Hair does too! If someone is running hell for leather in some direction, you can bet that if they've got long hair, it will be streaming behind them. If they're wearing a scarf or a skirt or some other flowing material, that material is going to be affected by the wind, the motion and the air-pressure. It's going to bunch up, it's going to flow out behind them, etc., etc. Use all these little things to amplify the sense of motion in your art.
Was about to point out that the characters look a bit stiff/as if they're posing, but your examples with images and everything beats my reply from work any day. =D
@JessJackdaw
@AnnaLandin
@agentfink
@maxzaguishi
Thanks guys, this has been really helpful.
I think as far as the poses go, Ill probably have to start putting more details into my early sketches. Usually I scribble a bit then go straight to digital. I think for the girl I'll leave her pose as is since I have other pages to finish. I might change the background characters pose a bit. Originally I intended him to have a laconic expression to show him not quite grasping the situation yet but I realized too late it would end up being proportionally too small to see. I might change him so his body language reflects that but he's already colored and ughhhh.... frustrations.
As for the final page (more or less) I decided to keep the blur, to keep some exaggeration since I won't change her pose this far in, and I decided to add some white lines. I also put some negative white space behind her to not crowd the image. I've seen a lot of mangakas use this trick with tone scraping, not sure how well it works here. For the kind of comedic character movements I've used simple white lines.
Nothing makes me happier then seeing my comic get torn to shreds (no I am not being sarcastic) so, again, thank you guys =]
EDIT: you may want to right click and view image to see it bigger
EDIT 2: I actually stumbled on a quick and dirty way to change her pose a bit, though it still doesn't have Anna's razor straight line of action, it is a bit better. I've changed the picture.
Guess I'll have to track down more speedline templates for CSP. I only have a few in my material stash.
I'm currently working on scenes that require massive use of blast lines & hyper velocity motion, so finding appropriate speedline templates is a must for me, as how I dont have the time and/or patience to create my own.
A quick way that I actually did for this page was to use the perspective rulers. I used it to make the lines converge to show perspective for the movement of the centipede thing. But you can also make lines all around and have a circular concentration of speed lines. Then just register the image as a material for later use.
@El_Psy_Congroo yeah, I saw a tutorial on CSP in regards to that. I've tried it, and it works, but [right now] I'm not patient enough to sit there doing that until a I get a consistent series of lines that I would be comfortable with...maybe later.
I don't think I've ever used a blur as I don't think it would look good with my style. I tend to use a combination of the character's poses and motion lines... and sound effects! I feel like sound effects can go a long way.
In this page I use all three (sound, motion lines, and character poses) but I feel like I could take out the sound and lines and you'd still get the gist of what's going on.
Finally did some horizontal speedlines. Thanks for the tip! Also saved that linework as a material for CSP and a PNG file to use in Photoshop. I'll eventially get to the perspective type lines...
I'm still getting to grips with movement myself. It's tricky, especially if your style doesn't suit speedlines or SFX that work so well in other comics, though I do use both occasionally. I also use colour a lot so perhaps some examples from West will help you out?
Clothing and hair are great for depicting sudden movements/speed but if you're stuck with a bald, naked person small degrees of warping across parts of the body also works well for indicating weight and movement. It's not like bodies are made of stone, we do pull and sag and warp a bit as we do things. Go watch a fight scene from One Piece and take a look at all the bendyness going on there. That's as much a stylistic choice as much as a technique, though, so be careful with the bends.
Tactical blurring can also add to the effect of movement, especially in situations where, if it were you completing the action, you might experience tunnel vision or something similar. For example if you were chasing someone your eyes would be locked on them to the exclusion of everything else. Not sure if that's the kind of thing you're after but it's something to consider.
I also like doing little dots- like flecks of dirt and dust, I guess-- in certain areas to indicate speed. It works well around the feet of a running person. Like their heels are kicking stuff up as they go. Seems a bit obvious now, as I'm writing it.
