AllRightAllRightAllRight! Your up next buddy 
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Characters
So as I was looking at your comic (I skimmed threw the previous pages) I noticed your ability to make facial expression was really good. Even at a glance, I could tell what each character was feeling/thinking. That in it self is a great step forward because a lot of people can struggle with getting right emotion across. One thing, while we are on the topic of expression, I saw that a lot of the characters held themselves in the same manner. They all kinda stand straight with their shoulders up, and I challenge you to experiment with different poses when not in action. You are doing great when characters are pushing each other and in defensive/offensive stances, but when standing normally, they are often all the same. I would work on learning those type of poses next.
On another note, I wanted to compliment you on your character designs. Each character that has become a focus point feels important, even a lot of the background characters dress snazzy! A lot of people don't really care so much about un-important characters, but when I see your dudes (and dudettes), they all feel like they belong, and that I can tell a little more about their personality than with many other peoples side characters. I really like the contrast that you make with the top characters being more classy and the bottom characters being more strange (rock face dude, robo arm man, gas mask bro, etc). You give good insight on the different cultures there.
Pacing
So i wanted to take a good look at how you established your pacing so I went back a few pages. It seems like you are dong a good job with your pacing, but I will say that you should be careful because you do like to change it a lot. This is necessarily bad, but I just want you to be careful and only change it when something important happens. By setting a pace, you are essentially setting up the audience telling them "hey, this is the speed that life is happening right now" and then when you break it you are telling them "hey, this is really freaken important...PAY ATTENTION!". So when you set and break the pacing often, then when you do want something super dooper important to happen and you break the pace, its not going to have quiet the same effect because people are used to that in your story (kinda like the boy who cried wolf, even if those other times were somewhat important, when the wolf actually came, the people didn't have so much of a reaction because they knew to expect it). Basically I would suggest that whenever you make a new page, look at the previous page and try to get the same pace (using gutter spacing and panel placement) unless you have something that is very important to the story, then break the crap out of it! This type of skill does take time and practice, but a great way to learn is to study the comics that you are reading. Pay attention to how they have multiple pages set up and ask yourself questions like "How fast am I reading through this? What did they do get me to read this fast? Why do i know that this particular moment is very important? etc". I see you doing some really nice pacing structures in your comic, for example, page 13 and page 14. At the end of 13, you quickly set up that this girl is talking a bit fast with the panels overlapping, and then you have the three equally sized panel next to each other with gutters. When I read this, I felt as if she just got done ranting and had a great realization (which she did!). Then the next page is the opposite of what those three were, it was one large panel that now showed two people (as opposed to just the one in the three). I felt that what he had to say was greatly important. These two pages were great examples of controlling the pace and getting the message you want across. Having that ability is a great thing, but like I said earlier, you do want to make sure you can have multiple pages of the same pace. It helps with calming the reader down a bit and telling them that all is good at this moment in time. So I suggest the next time you have two characters in normal conversation, give them some time to breath and get comfortable (so that when something crazy happens, you can be like "look! look at what just happened!".
General Art
I really like the subtle contrast between the top part, and the bottom part of the city as far as colors/color saturation goes. When I first quickly skimmed through, I was confused on why the beginning had bright colors, and why the recent pages were dark so I decided to actually read the comic and really appreciated the fact that you made that distinction. I like how its now this huge black and white contrast, but it is just enough where the top place seems feels goo and happy, while the bottom place is darker and not as well put (like the cracks in the walls, nice touch). While on the topic of general art, I would also challenge you to get used to making quick strokes because some of your lines can get bumpy. This is apparent with his glasses in panel 3, but I can spot a few other places were it gets bumpy. Trust me, its really weird at first so keep your hand on the "undo" hot-keys and just keep swiping away. This guy gives a great video to help you improve this. I also wanted to ask what program you were using, because if use Manga Studio 5 or Clip Paint Studio, I could give you a little trick to help with crossed lines.
The Requested Page
FINALLY TO THE ACTUAL SINGLE PAGE....WOOHOOO!
I really want to talk about panels 2,3, and 4. I think these three panels deserve some praise! You did a great job at directing the reader to where the focus point is! In panels 2 and 3, you three majorly important aspects in the background that get me to focus! The first is the stone pillar right behind his head. The edges and the cracks in the pillar all point right at him so if I explore that part of the background, then I go right back to looking at him. The second and third aspects deal with the building on the right. One thing that I really enjoyed were the yellow and grey horizontal lines because when I explored those things, then I just ended right back to him because again, they point at him The last thing that was working well was that the windows were all pointing up, which became me second point of interest because of the bang and him looking up. You made "up" become important, even though we don't know what "up" is (which made me really like, the next panel because I really wanted to know what was "up" XD).
In the 4th panel, my eyes went directly to the ship flying next to the people talking, and it STAYED THERE! My eyes simply didn't want to wander around a lot because you made the focus point so strongly apparent, that I didn't feel the need to look anywhere else! This is what you did, you had the cracks in the stone pillars all pointing "up" so that kept my attention high. Then you were able to use the bridges as a box to encase the focus point. You made the buildings on the right have clear white lines that pointed right at the ship and you had a lot going on in the box so that I didn't feel the need to see what is happening anywhere else in the picture. This panel was extremely well done (bravo bravo) and it just feels good all around. I thoroughly enjoy just sitting here looking at that one panel. The only thing that could have been improved (and it totally doesn't have to be to still be good) is that on the stone pillar in the right has crack that point outside the panel, but if you switched them to point inward (toward the BOX!) then that would further help keep the focus in the center. Don't get me wrong tho, this panel is still amazing as it is.
The one thing that sticks out to me in this page that you really want to be careful with is in panel 2. If you look at his hood, you can see that it is bumping up against the line of the stone pillar. Since you had his shoulder going past that line, it is completely fine, but I wanted to bring this to light because when you have something bumping up against a straight line, then it can give the illusion that it is trapped in said thing, and unless you make that intentionally, you want to avoid such line bumps.
Overall
After taking a nice good look at your comic, this is where I stand. You have a lot of good things going for you and I have no doubt that in a year or two, you will be an outstanding artist. Right now, I suggest you go crazy with learning body expressions/positions in a normal standing setting. You can obviously do action poses and such, so just learn a few things like slouches and shrugs. You definitely know how to make pacing, I just suggest you work on making that pacing last a bit longer, but you totally have to knowledge to make it work. Your art work is very consistent, which is an amazing step, so now just work on smoothing it out a bit. These are the things that I think you might need to work on, be honestly, you are doing VERY well. I had a blast looking over your comic and seeing all the things you are doing right, so thank you!
If you have any questions, feel free to ask!
