Your art style is nice and it's obvious that you know who are your characters, and what's your plot. However I think your storytelling needs some more work. In the first episode of the introduction sequence, the action is easy to understand and the emotion is well built, but then on, it becomes more difficult to figure what's going on, even confusing at times (like when the deer tries to have the woman find the baby, it's not obvious that it's what's going on).
In a comic, illustrations have to be explanatory of what isn't explained through dialogue. A way to figure out what to draw is to write your script in a visual way. I'll take the sequence with the deer as example:
Same appears in Introduction 16-17, in the two first panels the beast is not looking to where the woman is, and the tentacles go to the right, to then appear going to the left. In Introduction 19-20 however the reading sense is well respected and it's already much much clearer.
In the next chapter what can be confusing is how events follow each other. Sequences don't seem to be logically linked in time and locations. First Viktor is outside, and then he's suddenly under the boat. Or later, he talks with the other kid, and as the attack occurs we suddenly change to a completely different scene in the middle of the page without much transition. What is confusing in this specific sequence is that you come back to the scene with the kids after showing the thing in the sky, and you use the same kind camera focus (close to villagers) for both scenes.
I think you've already the importance of body language, especially with a mute character (and on this point, congrats, we understand that he's mute before it's even mentioned, his silence and observative behavior speak for themselves -if you allow me the pun). When writing your script try to insist on what cause must happen to have which consequence for the reader to understand what've going on, and show you storyboards to people to see if they understand what's going on. Check that the reading sense is respected, and that your sequences don't go back and forth between one another. Unless things are happening simultaneously (there I think of those awesome scenes in the Fifth Element "They are empty!" "What do you mean, empty?" "Empty. The opposite of full.").
The action needs to move on like water: fluid and in direction of the stream.
It's not easy, and an issue I still had 2 years ago only. And then suddenly, something happened in my mind, I was very decided to make a picture book, and the first draft was good. I wish I could explain more how the switch happened. I think it's really all about the vision. Aim for what is necessary, ask yourself "do I need to show this? can I show it differently?" and try to pick up the simplest answer.
Talking of this, there are some background characters that take too much place in the screen. By this, I mean that they look as if they were somewhat important even though they aren't. It's good that every character seems to have a life and a story, very good even, but make sure they know they're place: they're not the main characters, they are just decorative pots. Pretty ones, but still pots. It's important to tell them apart from the characters in the center of the action so to avoid confusion for the reader, and make sure we know where to look for action. Wouldn't want people to look at pots instead of plot
You've got what it takes to make it good: some pages are working perfectly, so it's just a matter to check yourself. With this nice art style, it promises a very nice comic!
Also try to keep a same size and background color for your pages.