I certainly agree that comics and film are completely separate media, and I deplore the fact that children seem to learn all they know from television. My own nephews, who are very young, say they like Spider-Man, but I know for a fact they've never seen a Spidey comic; in fact, I rather suspect they only know him from T-shirts and toys, as a sort of decontextualised notion.
There's another thing: videogames.
Rob Liefeld, that idiot savant, occasionally says some wise things: the reason comics sold so well in his day but not now is because the center of community and conversation that the comic book store provided in his day has now been usurped by video games and the video game stores, which offer interactivity, something that comic books do not offer.
The kids that in 1993 would pick up a comic book are now picking up video games.
It doesn't --but comics are a visual medium. So if the editor or writer is not thinking in terms of how the story can best be told visually, they are not doing their jobs.
True, although some things can become exciting and visual depending on the artist himself. A panel drawn by one artist can be boring while the exact same thing drawn by another can be more three-dimensional and give more a sense of power.
Of course, traditionally writers have tended to overwrite to make up for the loss of control they experience when an artist translates their story (in terms of text boxes, expository dialogue and though balloons).
Well, we all know who would be "Exhibit A" here: Roy Thomas, who so troweled on the purple prose it felt like he was trying to compete with the writer. On the other hand, I vastly prefer Roy Thomas-esque over-writing to Ellis-esque underwriting; words and pictures together are a strength of comics. And sometimes Thomas could be really, really dramatic and his words helping to set the stage, language becoming a "special effect" in and of itself, as Thomas did describing the 41st Century of Kang the Conqueror in INCREDIBLE HULK #135:
"THE 41ST CENTURY! No longer is the earth a green-bedecked jewel - its once bright face is pockmarked with bomb-blasted craters. Yet on this world ONE MAN raises his voice in joyful TRIUMPH..."
As for movement in comics: movement for the Flash (the default effect being whooshy red TRON walls, which only show where he has BEEN, not that he moved). The other ways used to express the Flash's superspeed have been much more effective because they are NOT depending on movement: for instance, the effect in the early Flash stories of everything being absolutely frozen and still in time next to the Flash, or the rotoscoping multi-images first used by Johnny Quick.