Heya!
First of all, that's awesome that you've dedicated yourself so thoroughly to improving your drawing skills. 9 sketchbooks full of anatomy studies is nothing to sneeze at. Also good on you for not waiting to for perfection before jumping into comics, especially when making comics is one of the best ways to learn a bunch of skills at once.
I found your comic to be really sweet and totally relatable, as someone who also grew up with a ton of yelling and fighting. So I found your main character to be instantly empathetic, which is great! I think one of your comic's strengths is that it's silent, and so the visuals are what clue us in to the character's emotions. I love how expressive the main character is, especially when you push and contort her face for some of those extreme expressions, where a lot of artists might hold back in fear of making the character look "ugly".
The overall anatomy could be solidified a bit more, but the poses themselves have good silhouettes. I think they could be more fluid and gestural, so as to not feel too wooden and posed. A good trick is to push the initial drawing of a pose to the extreme, since our tendency is to reel it back the more we work on a drawing. If you start with a stiff pose, it'll only get stiffer; but if you go a little over-the-top with the gesture, you'll probably maintain a lot of that initial energy as you clean up the drawing.
I think the biggest area that this comic could be strengthened is in the composition. I hope you don't mind, but I grabbed a few panels and did some quick drawings for them:
For this one, I like the clarity of the arguing parent's pose. But, it feels a little detached from our main character. The "camera" is what we use to manipulate how the reader should feel about any situation, and who we should relate to. In my version, I have an over-the-shoulder of the girl as she peeks at her arguing parents. The placement of the camera sits us right behind her, so the reader is more inclined to empathize with her. This is also useful because we can see her reaction as she is watching her parents fight. While showing the parents fighting in one panel and then the child being sad in another technically works, it's much more powerful when we see it all unfold in one panel.
I feel this one has a really awesome opportunity for storytelling. Rather than having the girl off to the side, it'd be more compositionally interesting if we placed her between the two shadows. Kids often feel that they're to blame for their parents' arguing, so this kind of composition emphasizes that. It can also just strengthen that "caught in the middle" feeling when two loved ones are fighting. I also angled the camera slightly downwards to make the girl seem more vulnerable.
To bolster the storytelling, I added some family photos to the wall; maybe they're of a happier time, which could give us some history about the family without saying a word. Maybe the people in the photos don't look happy at all, and they've been in this bad state for a while. Either way, the environment can tell us a LOT about the characters. In the kitchen scene, too-- maybe it's a mess with dirty dishes everywhere, maybe there's a lot of packaged food in the garbage because the parents are always working and never have time for family dinner. Maybe it's spotlessly clean to hide the fact that they're a broken family. There's a lot of possibilities.
In general, I would avoid eye-level shots, or any composition where the horizon line is sitting perfectly centered on the panel. This can make an otherwise interesting panel feel flat and mundane. Which works if that's the intention-- but for a shot like this, it should be exciting! Which is why I drew a version using a slight upshot/worm's eye view-- this makes the snowman look much more grand and heroic. Generally speaking, upshots tend to give power and important to the subject, while downshots give a sense of vulnerability, surveillance, or detachment from the subject. There's countless ways in which cinematography can quietly influence our perception of a scene, but I those two are the broadest ones to keep in mind.
Anyhow, I think it's clear you've got a love for story and have a really interesting story to tell! I would suggest spending time learning cinematography techniques and how different types of shots affect our perception of the world and characters. Like I said, I found your main character to be very likeable and empathetic! Now it just needs some of those refining tweaks to really push that sentiment.
Whoops, sorry for the mini-novel! I, uh, really like cinematography and composition.
