Excelsior! Welcome, True Believers as your Magnanimous Mongoose makes cutting critiques into The Amazing Adventures of Alpha Alpaca!
Story/Structure:
So this comic is described as a project to practice sequential art, and as something to do that, it's an interesting one to look at because it's approaching the medium and developing work in it from a very different direction from most of the comics on Tapas.
A lot of the comics on here are by people whose first influence is manga, and so you get these very freeform panel layouts, lots of dramatic closeups and extreme angles and things, often to the point where the comic is hard to follow. But with this comic, the primary influence on the visual storytelling and structure is... golden and silver age superhero comics!? It follows the conventions of that genre and time period to the point that when I started reading, I thought it was going to be a parody, but then oh huh, no, it turns out, this is an absolutely sincere comic about an alpaca superhero told in a format that evokes comics from the mid 20th century!
The really interesting thing is that as the comic develops, it's like a microcosm of the development of the western comics format. It starts out with the very flat, zoomed out panel compositions of something like 1950s superman, and then as the pages progress, starts to work in more adventurous layouts and angles, and techniques like closeups and more adventurous angles. I think continuing that sort of experimentation further would be good, and particularly attempting some more ambitious compositions and camera angles on the characters and action, like over the shoulder shots, high and low angles, extreme closeups, that kind of thing.
The plot overall is pretty typical classic superhero fare but with a bit of lampshading of genre tropes here and there, and actually, that's going to be my main criticism here:
If a villain doesn't have a motive, or isn't threatening, or the hero's weak excusing of himself feels really flat and expedient, or if the plot is threadbare, you can't just have characters remark on it and pretend it's a parody. It's definitely easy to do, and it seems like the perfect "get out of overused plot devices and flat storytelling free card", but ultimately it's a thin bandaid on top of a dull story that makes it only marginally more entertaining while setting up a very unfortunate rule about your comic for your readers; "The plot doesn't matter and you shouldn't take these characters seriously or care about them, because haha, I clearly don't!" Once you've set this up, it's really hard to transition to serious, sincere storytelling without it feeling jarring, and it also teaches you bad writing habits; like drawing characters with their hands behind their back as a cheap way out of drawing something hard, making things happen in your story and then saying "it was just a joke" or "haha, I meant for that plot element to be weak, it was a joke", is a way to avoid the kind of tough writing challenges that will make you stronger if you face up to them instead.
I totally get that telling a sincere story is hard work and it can feel embarrassing. I know from experience that in my older comics, characters constantly would remark sarcastically about my stupid plot and nonthreatening villains, and the reason I did that? I was embarrassed to be sincere because I thought people would laugh at my lack of writing skill, so I wrote in jokey kind of way to pretend I didn't care in order to protect myself. When I read those comics now, I feel embarrassed because it's so obvious that I wasn't thinking my plot through and was insecure about writing drama. Try putting a bit more love into your story instead of just having whatever happen and then excusing it with a meta joke about the lack of effort.
Design:
The speech bubbles are pretty hard to read, with very small text (particularly on mobile), partial transparency and a coloured body, as well as shape issues (but I've already discussed how to fix those in earlier posts). Semi-transparent speech bubbles generally only happen in comics either as a means to show that the text is a non-essential thought or aside, or because the artist has failed to leave enough space in their panel but doesn't want to completely obscure the art. (See the Twilight GN example in the speech bubble post). They're not easy to look at, and in your case, your panels have ample space for speech bubbles, they're not obscuring anything, so just make them a fully opaque; it'll look neater and be more readable.
Coloured speech bubbles similarly are pretty hard to make work. They're harder to read because of reduced contrast, more likely to clash with colours in the artwork (reducing your freedom to use colours in your panels) and just generally look less clean and elegant. In my opinion, the only time speech bubbles in colours other than black or white work is if the comic has an overall base tone to it that isn't white, like say, sepia or cream (Or very dark brown or charcoal off-black) for an old fashioned feel, or pale blue, pink or similar (or very dark blue or purple) if the comic is entirely suffused with these colours, and if that's the case, all the bubbles should be that same colour. The lettering in the bubbles.... just don't colour it. Unless it's to denote that somebody is casting a spell or under mind control or otherwise talking in a strange way, keep the text a nice, strongly contrasting, readable colour, ie. very black or white or something close to those colours that's used consistently across all bubbles on the page.
Art thoughts:
The line art is the thing that stands out the most here, in both a good and bad way. There's clearly been some thought into trying to be interesting and stylised with the line art, but maybe with a lack of experience and knowledge in where to spend the effort for a polished look, and what suits the kind of story being told.
The textured blue inking was something that stood out to me as a weird style choice. It feels like something that's done not for any specific effect but just because it's different and interesting. It mostly makes the comic look a bit garish, limits the usable colour palette to things lighter than that blue and isn't really adding anything. Generally if you're going to use coloured lines, they either need to be coloured based on the colours they're next to (which often looks great, but I'll warn you: it's time consuming; I pretty much only use this technique on standalone illustrations) or your entire comic needs to be based around a limited palette and lightness level harmonised around that colour. A good example of a comic doing textured coloured inks well is Crystallized, which uses a very limited palette, a simple style without too many lines, and textured fills to match the textured inks.
The inks drawing so much attention to themselves with a bold colour and stylistic flourishes like the recurring spiral motifs is a bit of an issue when the inks are quite messy and have a combination of a heavy weight and no line weight variation that makes them look unpolished. If you're going to draw attention to a feature of your work by making it extra rather than just going with a more conventional approach, that feature needs to be really strong and polished. Assuming you're drawing this with a graphics tablet, I'd advise learning to use pressure sensitivity to vary the line weight to add a bit of dynamic gesture and a sense of mass.
The figures aren't bad, but similar to Rise of Heroes, the proportions are good, but they lack a sense of mass and volume at times. That's a good general area to work on.
Overall, it's a good first effort, and as a practice run for future comics it's a good start. The storytelling is very clear and it shows a strong understanding of comic conventions. More design and art polish would add a lot to the presentation, and a bit more sincerity in the storytelling and characterisation would help the reader really care about the characters and story.