Okay, this one... this one interests me.
This right here? This feels like a punchline.
Like the art style shifts, DRASTICALLY from one panel to another. I'm referring specifically to your line quality. Most of the time your comic is drawn with these really dense, dramatic hatching marks all over the place, and it lends a serious air of liveliness and intensity. I love it. You could definitely do with a little more control in some places, but overall, it's an extremely unique look and I love it. However, you seem to switch back and forth between that and this very smooth, glossy grey shading, seemingly at random.
Like... in the example above, it goes from the greyscale shading when the character is sitting still, to all the messy sketchy hatchmarks when there's a moment of intense action. Okay, so you're giving me a visual language here: those hatchmarks indicate intense movement and action, but then in the very next moment...
This character isn't moving, they're standing perfectly still in the aftermath of that kick, but you're still using all these dense texture marks. so... those hatchmarks DON'T indicate intense movement? Alright, then that means the greyscale must have indicated something else, right?
So where's the next place we see it?
huh... this looks like it's being used as a punchline for a gag; the character is overly simplified and doing something kind of silly, so... the greyscale shading means funny gag moment?
but wait, if I scroll up a little...
This DEFINITELY isn't a comedic punchline as far as I can tell, so what gives?
My point here is that it's okay to change up your art style within a story like this, but it needs to be done with intent and purpose. You know how like... black-and-white scenes in the middle of something color kinda automatically mean 'flashback scene'? Or how watercolor textures are used to indicate dream sequences? THAT is how you should be changing your art style. Make sure your visual language is consistent, otherwise you'll end up unintentionally communicating the wrong thing to your readers.
I really do love the style of this. Like I said, the really dense, crazy, almost frenetic hatchmarks make it feel really active and lively, but they also might be eating too much of your time. It doesn't look like you're focusing very hard on the underlying structure and anatomy very well.
You've set the horizon line in the middle of Poppu's neck, meaning we're looking up at her face and down at the rest of her body. The angle is REALLY extreme here, so it's like a fish-eye distortion, which is fine; she's obviously supposed to look kinda creepy here, so that works in your favor. However...
With perspective this extreme, EVERYTHING
needs to be affected by it. You would never see the lower lids of the eyes arch down like that if you're looking up at someone; the cheekbones and general curve of the face would cause them to look squished in. Same goes for the bottom lip; you'd barely see the edge of it, while you'd be able to see the top lip in full. This is a SUPER difficult angle to draw people from, so it's going to be a challenge no matter what, but you're only making use of the twisted perspective you've got going on here in some places, making the rest of it really heavily clash with what would otherwise be a really striking composition.
There's generally a lot of issues with your anatomy as well. I recognize that your art style is very angular and abstracted, so it's not quite as big a deal as if you were going for a more realistic design, but it does have some major effects even to a style like this. If you make a neck too thick or an arm too long or a hand too big, it should be on purpose. Learning real world anatomy is useful for any and all art styles at all times, even if you're going to distort it, because you need to know HOW you're distorting it before you can do it effectively.
Definitely keep with that messy, scratchy, ballpoint-pen-lookin' shading style you've got going on, just try to be a little more consistent and intentional with it. If you get it down, I think you could have a really striking and unique visual aesthetic on your hands.