Techniques for depicting movement

I highly recommend checking out Zak Simmonds-Hurn's Monstrosity36 in terms of movement techniques. Not that I know how to accomplish what he does, but damn, would I ever like to be able to do something like this. Page 9 to 12 of his work has this incredible use of speed lines, so I really recommend giving it a quick look-see.

Whatever you do, don't just write an explanation of what's happening without actually showing it. I've seen comics that express actions with asterisk's like * jumps * as if it was a messenger conversation, and it makes no sense in a visual medium.

If you pause a, say, Disney animated film while a character is emoting and moving around a lot, you'll probably land on a smear frame. They're hilarious. Also, they make the animation look fluid. What I'm getting at is that playing with the shapes can really enhance motion. For example, when a ball is thrown, you wouldn't draw it as a circle but as an oval (more like a circle if there isn't as much force in the throw, for example).

Even if the comic is in colour, it doesn't mean your lines need to be all closed and neat either. You can make some colours bleed out (motion blur but by hand, basically, haha not really). ANYWAY the messier, the more energy the image will have! tho it still has to be clear enough to understand what's happening of course. That's what I think anyway.

Wow.. That is indeed very good actions scene. I like tat style!

Use speed lines, good references are manga. The Attack on Titan series makes really good use of speed lines so go study that, it's a very good starting point on how to draw motion. I wouldn't recommend to use blur because that makes things look out of focus either giving them a sense of being really far away or really close instead of looking like they are moving.

Yeah, speed lines are a pain in the butt, but at the end of the day they look way better.

Try not to overdo blurs or speedlines as they can just make your art look fuzzy and cluttered. Try to do gesture drawings from life, especially from moving people/animals so you can really see what movement looks like in real life.
Additionally, always use a line of action when you draw, and try to build your poses around one movement.

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.

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).

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!

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.

my style is the classic guide line, which shows the character's movement

manga/ https://tapastic.com/series/WHITE-PALADIN-