I for one really enjoyed your comic, and you've earned a sub. I've got a pretty chunky review for you if you've got the time!
I liked the slow-paced, atmospheric opening. The dialogue could have been a bit more concise, but it was well-written, formatted nicely, and free from any glaring errors. It would have been neat to see a flashback panel or two during the story about the boar hunt, but the story itself was interesting enough to hold my attention even when the visuals weren't. Best of all, you introduced a mysterious connection between the boar and the stranger, and that mystery was enough to hook me. Although I feel that you rely on writing a little too heavily for what should be a visual medium, the writing itself is solid.
It's your art that could use the most improvement. I like the character designs -- I'm bored of reading stories where everyone is a pretty 15 year old, so it's nice to see some older, more haggard characters for a change. It's not the designs, but the execution. The characters look lumpy and ill-proportioned. Arms are frequently too short, and where they bend is unclear-- the biggest offender is the innkeeper in his first panel. Hands are sometimes competently drawn, and sometimes they're... not. Pissing man in his first panel, for example, looks like he's only got three fingers. The horse's legs look wobbly and the facial expressions are stiff. I get that these are saggy, middle-aged people, but even saggy middle-aged people have a solid skeleton underneath their flesh, and these people don't look like they do.
In fact, I think that's the problem. I suspect-- and I could be wrong, but I suspect-- that you are free-handing your drawings, and not constructing them. When drawing a character it is best to start with a rough, simplified skeleton, or simplified shapes representing the masses of the body, before you add clothing and details on top. That way, you can check to make sure your proportions are correct right from the start, and your characters will look more weighty and convincing. Some good resources are Proko.com and Proko's YouTube channel, as well as Andrew Loomis's books, which are free online in pdf form. Gesture drawing will also help with the stiffness and the scratchy line work.
The colours are pretty good. I liked how you contrasted the warm orange glow of the inn with the cold grey outside, for example. However, your colours are often too dark, so the line work gets lost, or too muddy, even for the gritty setting you've established.
You should also consider the contrast, or the balance between light and dark, saturated and unsaturated. The easiest way to use contrast well is to decide what the focal point of the panel is-- the most important element-- and then make it either the lightest, darkest, or most saturated thing in the panel. Up the contrast during more climactic scenes, or in panels where the focal point is small or surrounded by a lot of detail. Lower the contrast in more mellow scenes, or scenes where a focal point isn't as important, like the establishing shot in the first panel. Sometimes, you've used contrast very well. The black stranger on the white horse is a very striking sight against the neutral gray background, and the bright blue eyes in the stranger's nearly monochromatic face make for a very powerful image. At other times, the focal point gets lost because the contrast is too low. The words on the inn's sign, for example, are so dark that they aren't immediately readable, and the hog's head doesn't stand out much from the super-saturated orange background behind it.
Overall, the story is fascinating, the writing solid, and the art competent. Keep drawing and keep practicing! I hope my long-winded review helped, even a little bit 
