Salutations! Well, I did as you asked, I checked out your comic and looked at everything you have up so far. I've some feedback for you that I hope is helpful. I'm going to break this one up into two posts: One for writing/Dialogue and the other for art (that'll help compartmentalize stuff). Without further ado: Writing/Dialogue!
The first real snag I hit while reading your comic happened immediately: The dialogue. Your dialogue suffers from a number of issues, one of which is the easiest: Misspellings. You've got a few of them (Such as "Pineaple" instead of "Pineapple") so, my advice going forward is to run your dialogue through a spell check before you place it, that way you can catch any misspelled words that try to sneak by.
Now correct me if I'm wrong but the way your dialogue is written seems to me that English might not be your first language? (If English is your first language, then the writing issues here and there can probably be traced back to your inspirations or influences, which is a thing that happens sometimes so, don't worry, that's just how it goes sometimes.) If it isn't your first language, I will just say: kudos for translating it, I can understand that dialogue would be particularly difficult in this case so, I'll do my best to make examples that are helpful.
The next two parts, with regards to dialogue, are a little harder: Structure and Content. These are things that can be hard to master and take some time with regards to learning so, it's okay not to get these right away. Your characters have the problem of saying too much fluff that isn't required to get the point across, thereby reducing the amount of space you have for your artwork and making the characters sound less and less believable as they continue speaking. I'll make an example to show you what I mean.
In the scene from your third episode, your young hero says this:
Original: Hey you, smile! Look, you'll live another day! You should also close that mouth or the fly will get in there!
First off: there is no fly in the scene, so the fly joke makes no sense visually. If you had a panel without dialogue showing a fly landing in the bystander's mouth, that'd be different. Now, taking the context of the scene into consideration: a battle with a crazed magic user killing innocent people; a child enters the scene intending to fight. The way the jovial tone was used feels out of place. It undercuts the scene and any semblance of a threat from this initial villain or any show of strength or skill from the brother, later comes off as flimsy. Dialogue has the power to make or break a moment and in this case the way it comes across weakens the scene as a whole. Now, that's not to say you can't have a jovial hero who is unafraid of the situation, you just need to pair down. Make what you say more impactful in the moment. So, with that scene in mind, imagine this dialogue instead:
Edited: You're free to get up and run any time now!
Since the person who was attacked is stunned, snapping him out of it by bringing him back to earth and reminding him that he's still in danger, is what a person trying to save another human being would do. These brothers stepped in to defend this guy, and being that there's still a magic wielding psycho on the loose, getting the imperiled man out of the way, (since they stepped in on his behalf to begin with) would make more sense. There's also another thing dialogue like this does: it establishes atmosphere. If your main character impresses urgency on this poor bystander, the audience in turn will FEEL that urgency. Part of writing dialogue is to evoke emotion from your audience and if your characters display that urgency, your audience will register it as well.
This second part of the edited dialogue that I wrote is that it can work with the visuals. If someone smiles and waves a hand in front of the stunned man's face and pleasantly tells him he can run for his life, you can then inject urgency and joviality. There's also a third quality this adds: confidence. The main character comes off as more confident because, while giving an urgent message, he can still smile and wave, so we establish three emotions to build on atmosphere and we do it all with a single line of dialogue. I know I've gone on at length about this but there's a reason: the problem with this small snippet of dialogue from your comic, is endemic to your entire comic thus far.
You have long swaths of dialogue that don't need to be nearly as long and in fact, detract from your story. These two brothers are supposed to be these imposing strong characters that walk up and trounce a guy who is destroying people and property as if this is just another Tuesday. They're supposed to be young and unassuming but, because they're so dialogue laden, they come off as trying too hard to be impressive, rather than being what the story wants them to be: mysterious to a point and a force to be reckoned with. I'll make another example.
This scene right here perfectly illustrates what I mean. The Big Brother character (I couldn't find anybody's names so, I'll have to go with Big-Bro and Lil-Bro for now) has a long segment of dialogue that makes him sound like a child trying too hard to be scary.
Original: In fact, I am planning to break much more. How about your hand, leg, head? If you don't move out of my way, I'll do it so well that people will be able to make elephant skeleton out of those pieces. I'll say this only once, keep your psychopathic tantrum to yourself and move your ass.
He does not need to say nearly this much to get his point across. I know the elephant imagery he's talking about is supposed to be funny but, it just feels like too much. You can still make this scene funny and say roughly the same thing with more punch and less drag.
Edited: I charge an arm and a leg for taking out trash.
Now, I know that the dialogue I've done for this scene is short each time I pair down, but there's a reason. You're in a fight situation, long swaths of dialogue ruin the pace of your scene and slow it down. As a reader, when I end up in a long fight scene where everybody is just posturing at each other with dialogue, I get bored and put the comic down. When I read a visual medium, I want the visuals to do a lot of the talking: body language, atmosphere, details in a scene and so on. The dialogue doesn't always have to be short, but knowing what scene's require more and which ones require less, is important. Now, these are all things that come with time and practice, so it's perfectly fine if you don't know them right away! It's all a learning experience and so you're picking up more skills as you go, and there's nothing wrong with that. To help you along, here's a resource on dialogue for comics.
Dialogue can be a wonderful tool to establish your character's identities, world view, what makes them good or bad, the works. It just takes some time and lots of practice and I know you'll get there! 
Your story has an interesting premise, we haven't been introduced to the in-universe Zodiac(s) yet, so there's a lot for you to build on and explore. You've got an intriguing idea so, I hope you keep working on it because I know you'll be able to make an interesting story.
Okay, now I'll write up the next section I promised: Art!
