yeah, i do have some anatomy issues xD. i need anatomy lessons badly. i used to do a lot of full on body sketches but kind of stopped to focus on the head more. i just recently got back into drawing full body stuff.
anyway, a piece i was particularly proud of:
this one was pretty personal as well.
First off, get over yourself and lose the self-pity; art is inherently personal - the amount of "verys" attached does not exacerbate this - and self-pity is extremely unattractive and juvenile. Not quite the impression you want to give when presenting artwork to an audience.
The emotion is present in all these pieces, but the technical execution weakens each. What's more appealing - clean lines placed with purpose, or uncertain hairy sketch marks? It takes years to develop confidence and style, but you can shorten the process by thinking before marking. Consider what you're trying to convey. Most of these are analogous to stream-of-consciousness-type writing - no considerable forethought = weak composition, across all fields of art. Unless you're drawing for yourself, you have to help your audience connect with your pieces to understand the emotions you're trying to convey. A bunch of hidden clues and secrets may make for a strong piece to you, but it probably looks like nonsense to another viewer.
For example - and before your hackles raise further, I'm not concerned in the least about what event in your life sparked these - what is going on with Bloodspattered Newspaper Wolf? I get the trapped feeling from the clues on the face, but the newspaper's presence does little for the composition and the scrawled black border looks ridiculous. Why are there blood spatters at all? They don't do anything except provide minimal shock value. Why are these components present? Bad news? Death? A wolf with its mouth bound, bleeding from the eyes, facing impending doom via scrawly spikes isn't exactly clear. A replacement of anthropomorphic subjects could do wonders.
Second image.. all I get is anger and frustration, which combines with the sketchy quality to translate to teen angst. The last piece - "I feel nothing anymore" - is a stronger version, if only due to the added detail of the bullet wound, which serves as a more straightforward indication of mental anguish. Nice work on the teeth of both. Fresh blood has a darker, crimson hue, while dried blood tends to be closer to burnt sienna. Combining different colors will make the piece more visually appealing. You can color the wolves, too. Not sure where you're going with the text, in any of these; it does nothing but make the pieces look juvenile. Your work should stand on its own and not require the crutch of an explanatory phrase.
Third piece is the strongest, because the emotion is conveyed with the most clarity and it's an interesting perspective. The blood does nothing, again; the piece could be made more cohesive by making the pool black and connecting somehow with the tear running down the wolf's face. Would've been more interesting had you given the blood pool a visible source, or, were the situation appropriate, tossed some bloody mats across some areas of fur indicating a struggle, i.e. anguished decision. Your signature is visually appealing, but too distinctive in this piece to be this close to the subject - however, you could drag a long, sloping line from the tear to form the first letter of the signature to integrate it into the piece.
Fourth - very, very, very weak. Complete lack of detail, visually uninteresting, uninspiring placement of components.
The full-body wolf is a good practice exercise for anatomy. I'll take this opportunity to note that by your pieces, your primary references are anime/manga-style artwork, and not reality, to be succinct. In order to make the manga style work, one has to be an extremely strong artist and provide a unique perspective on it; otherwise, it's excruciatingly cliche and tiresome.
Working from realism will bolster your observational skills and make your pieces more effective by giving the reader a leg-up in understanding your work, because they can instantly understand WOLF! - and that simple validation will make the viewer more receptive to what the piece is conveying.
Besides a zoo, you likely don't have the opportunity for real-life study, so take advantage of the internet and sketch the sh-t out of everything you see. To do this effectively you must FORGET what you've already perceived, and force your brain to work strictly objectively - in layman's terms, pretend you've never seen a wolf, and draw the creature exactly as the photograph shows. Do this, then keep doing this, from several perspectives, and keep doing that, and you will develop both an "eye" and a muscle memory from which you can develop your own style. You're also honing observational skills - further developing existing brain pathways - which will make drawing other subjects from reference easier as well. It's tedious practice but WELL F-CKING WORTH IT.
Keep it up.