There are other factors too.
Artists can& #39;t draw everything equally well (it may Seem that way but it isn& #39;t) or may not be able to in a timely manner.
So an alternative approach, sometimes, isn& #39;t flexing creative muscle: it& #39;s simply coping with the workload. https://twitter.com/GailSimone/status/1245715300282073090">https://twitter.com/GailSimon...

In the example of Caesar& #39;s army encampment of 50000 soldiers drawn from an aerial view-- an artist could lose 3 or 4 days on that panel alone. It& #39;s a deadline killer.
As a comic artist I& #39;m going to think of an alternative solution.

Prose used to support comic art. In a Roman encampment, narration along the lines of:

Banners flutter, warhorses whinny, wagons creak, arms and armor clatter, men mutter, laugh, and curse. The sound of the encampment rises and falls like the breath of a great, noisome beast.

It added another dimension to a comic page. And freed the artist from providing the entire sensory experience; which comics may need, they& #39;re still, silent images after all.

There are no rules. Because one scene may be movie-like, dialogue only, doesn& #39;t mean that must apply to every page.

When comics were aimed at ages 10-20, those readers read more prose in an issue than comics written for 21 to 70 year olds.

I& #39;m not pining for the writing in comics in my childhood. Frankly, it wasn& #39;t very good.
But somewhere in the 80s to early 00s comic-makers managed a very strong balance between words & images.
A balance between how much prose would enhance--and how much would hamper a story.