All of what you said applies to indie comics as well. The problem is that those were infiltrated by SJWs even before the mainstream. So basically, manga has less SJW bullshit.
But since I'm autistic, I'll go over your points, assuming you're only talking about big-two capeshit, anyway.
>With manga, the events in the world have lasting impacts and ramifications on the world and setting
This does happen with comics more than people think. Batman is never going to die forever, but side characters can. He's on his fifth or sixth Robin at this point. DC has four or five different generations of characters who have built up over time. The problem is that the "second generation," the Justice League guys, are cash cows and will never actually age out. But they do things to slowly age them. The original Robin (and the second and third, now) have grown up. The second Flash died and his sidekick got promoted to be the third Flash. Second Flash came back, but the third one is still around. And the fourth one, but people don't like him as much. Superman had a son, and despite efforts by one writer to get rid of him, it seems like he's too popular and is sticking around. Any actual discussion about capeshit really requires defining what era you're talking about, because things do change. But yeah, since the universes go on, and Bruce Wayne is never going to permanently stop being Batman, the change isn't always as pronounced as it can be in manga.
Of course, this is really a problem with cash cow franchises. See: the entire Buu arc being about downplaying Gohan and making Goku the hero again, despite everything before that leading up to his departure and replacement.
>The narrative is much more streamlined and accessible
Agreed. This wasn't a problem until the late '80s, but it's certainly a problem now. Reading from the start is impractical, and you need a damn Masters Degree in History of the DC Universe to understand modern shit. That said, once you do, the absurd depth of the history is cool.
>There is a definitive end point in sight by and large
Sure, but I never saw this as a problem. The existence of sequels doesn't make previous entries bad. The Force Awakens doesn't make The Empire Strikes Back bad, and Superman #640 doesn't become bad just because Superman #641 is bad. These universes keep going, but they're made up of many smaller stories which do have endings. Some are only a few pages long, some are hundreds of issues, but they do have endings. This is why you hear fans refer to "runs" by single creators. Those might be long stories, but most writers wrap up their stories by the end. The next writer does a sequel.
>The characters actually undergo development rather than reverting to archetypes
See point 1 about events having lasting impact. This is the same point. There actually is more development than the uninitiated give credit for. Again, less so for the really big cash cows, but even they get it to a degree. And "development" isn't always necessary for a story to work. Static characters are fine when used correctly. Goku barely changes, and that's fine. There's about a million characters that are full on ripoffs of Goku, and plenty of them are fine as well. Who is the comics equivalent? Superman? Batman? Spider-Man? The biggest cash cows. But they have changed over time. Compare a story of theirs from the '50s or '60s to today. People do this, and then call it inconsistent when they realize the characters are different now. But no, it's that they actually did develop. Sometimes it's just slow maturity, as is seen very well in '60s and '70s issues of Spider-Man, or sometimes it's big events that shake the character, like Batman being shaken by the death of the second Robin. Actually, the first Robin growing up provides a good example, from an idealistic kid who brings comic relief, to slowly becoming a brooding teenager who rebels against his father figure, to eventually getting over that stage and basically becoming a more stable version of Batman, even replacing him for a while. This only works because it's a story that took 75 years to tell. It was so slow, you don't even notice it's happening, because it feels natural.
>With manga, the writer by and large is the same and there is no jarring transitions between creative direction
Most "runs" are relatively standalone, and sequel stories don't ruin that. Granted, there are times when creative teams change in more abrupt fashions, but it's not as big a problem as people imply. Sometimes it's actually done well, like when the original creator of Spider-Man, Steve Ditko, quit right on a cliffhanger, and never told anyone else what the Green Goblin's secret identity was going to be. But luckily, his replacement, John Romita, was actually really good, and the transition isn't very jarring. His run is arguably even better than Ditko's. And decades later, Ditko would admit that Romita was right when he guessed that the Goblin was supposed to be Norman Osborn.
I honestly can't think of any really bad examples of creators being swapped in the middle of a story and ruining things. Though I'm sure it's happened.
>No lazy exposition in marketing
Exposition in marketing? Like what? Telling people in commercials that Peter Parker is Spider-Man? What does this even mean? Also, comics barely have any marketing to begin with. I don't think most normalfags even realize that new issues of Batman or Spider-Man are still being published.
>No confusing numbering system or continuous resets
Agreed about the numbering system. And the worst part is that it doesn't even match up with the resets. Largely because the resets aren't even real resets. Once you get into the continuity, you realize that neither DC or Marvel has ever been truly rebooted. Marvel's never claimed to, and DC's reboots are always trying to have their cake and eat it too. Some things continue from the old continuity, but some things are changed. It's never a full reboot, it's some elements of history being changed around them. The only real reboot was when they made new versions of characters like The Flash and Green Lantern in the late '50s, but they quickly retconned the idea that it was actually an alternate universe, and the original guys from the '30 and '40s still existed in another universe, and thus the complicated multiverse bullshit was born. But again, once you understand the multiverse, it's pretty cool. That's why every time they try to get rid of it, to appeal to casuals who claim it's too confusing, they end up having to bring it back, because it's actually more simple and part of the histories that make the series fun.
What you want out of western comics does exist in indie comics and self-contained stuff out of the big two. The thing is, nobody cares about those. The big two are the more popular ones and the shared universes are too big a part of that. Though they do need to cut back on the crossovers big time, and cut it with the renumbering bs. Marvel's been doing "Legacy" numbers, where they print "#1!" in bold, then under it, admit that it's really #687 or whatever. This would be fine if the numbers at least corresponded to when a new creator started a new story or something. But instead it's just used when sales are tanking because they've turned everything they have into SJW propaganda, and they know a few people will buy everything with "#1" written on it, so they start series like Captain Marvel at #1 like every eight months, even though it's never actually a new start.