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I'm liking the improving anatomy, the placement of their arms is much more natural. I'd pick up the Loomis books and have a gander at Figure Drawing for all it's worth. It has some basic information in here on value, perspective, anatomy and gesture. It won't fully cover all the points in detail but it's a very good starter book.

http://www.alexhays.com/loomis/

Also commenting on your horns, it was a little hard to tell they were horns in some of the pictures. The base of the horns will usually rise from the back of the skull so often times it's out of view. But it's a good idea to keep in your mind where the horns are coming out of, even if the viewer won't be able to see the base. It'd also help the horns if you draw it so the base of the horns are visible, it's the easiest way to make them look like they're attached to the skull properly.

Big improvement, but stop thinking in lines and start thinking in values. If there's a place you can eliminate a line then it's worth doing it (sometimes). For example you drew a line around the nipples. You didn't need to do that, there's already a boundary being created. The nipple is a different color from the skin so when those two colors meet they'll create a natural boundary so there isn't a need for a line. Out of curiosity what program are you using to color? also are you using a tablet or just a mouse??

I made this really quick sketch to represent what i'm talking about, since i couldn't find anything in my books that was less then 5 pages. Lines are there to create an outline for the drawing, once you start filling in values you can start phasing out lines. When two values meet then the boundary is already implied, so you don't need a line anymore. Line also plays a role in texturing but that's something you can worry about later.

It's because of how little tone is on the drawing. So far the darkest places on most of these pieces are the lines. Start increasing your value range slowly to increase your confidence in value. Work with darker darks and lighter lights. The more variation in value you can put down on a drawing, the better it's going to look.

Also Real Anatomy and Anime anatomy are not very different from one another. They seem very stylized, because the original artist knew what parts of the body he could alter without making it look odd. Even Ken Amatsu keeps his figures fairly close to the 8 Head figure. The middle of the breasts is generally about 2 heads down. The navel about 3 head down, the groin about 4 heads down. The legs will be about 4 heads in length, with the knee roughly being at the 6 head mark.

The main difference between Anime and Real anatomy is the amount of detail being put on to the muscles. Otherwise the general structure is close if not identical. Obviously with some exceptions like Panty & Stocking.

There's two types of Stylization that can occur, Informed Styles and Forced Styles. The latter usually occurs when someone is uncertain of how something is structured, you're brain tries the best it can to create what it thinks might be correct. Informed Styles are when the artist makes a conscious decision to change an element of his design. Most artists start drawing fairly realistically at least with studies. They know how the foundation function, then they change things based on what their design goals are.

Lastly, i will say the most recent image you did, shows some very strong anatomical improvements from when your older pieces. it can be pushed forward but the improvement is still very noticable.

Below i provided a rough image from Love Hina one of Ken Akamatsu's anime. I outlined the general real proportion it uses. Also just a few locations of muscle groups & Bones that were noticable on the surface.

These doodles are lively and have some good personality in the subject matters. But i somewhat agree with the thick line comment. Line art is fine, but thick lines usually represent a lack of confidence in your strokes. When an artist is uncertain of an action, whether subconscious or consciously, it shows in the product. To counter a shakey unconfident stroke usually we naturally press down harder on the drawing tool. I get something similar if i take a break for to long and my coordination goes down.

Also the reason Manga looks the way it looks is because of time constraints. There's usually a deadline for most Manga. So it's more effective to just lay down lines and then put down tone. The lines are left intact because in order to phase out the lines the Artist would have to add more tone and value to the art. A black line does two things, it represents the end of the surface area. If a character or object is completely surrounded by a black line, it'll appear flat. If you look at most Art books released by Mangaka, they chose to do full renders as opposed to the usual ink toning they do for manga.

This doesn't mean a black line doesn't have a place in art, but it shouldn't completely encase the subject. Darken lines in the places you want to create contrast in, this will naturally draw attention to that area. A good place to put them is usually around the face, that's where you want people to look. Thick black lines are usually to jarring for the eyes. I usually hold my pencil around the midsection of the pencil itself. The closer you get to the nib the easier it'll be for you to push down harder.

NOTE: I'm mostly referring to finished pieces. If you're just brainstorming, doodling to loosen up, doing gestures or doing studies then it's all good.