This goes hard and I can’t even imagine how you managed the sound design. Specially with all those little sounds everywhere. But your screenshot already gave a glimpse into the automation hell you’ve encountered and blasted you way thru.
However, while the sounds and sound design sounded very top notch there, the balance sounded a bit off at times. Specially with some of the percussive elements and the guitar. My biggest recommendation is to listen thru your songs with turned down volume, so you might be able to talk over it with no problems and listen to the loudness of your elements. Most of the time it’s getting harder and harder to judge differences in volume when listening to it loud. This is due to how our attention works with loudness or brightness being perceived algorithmically. So, when already listening to a loud sound another sound needs to be MUCH louder for you to perceive it louder. While with listening to it with less volume the difference doesn’t need to be as loud to perceive. So for mixing I’d recommend giving it some runs in lower loudness. Also, it gives you the opportunity to judge which elements are the most important, since those elements are the one you should still hear while the song is whisper quiet.
In addition, this is just a production recommendation worth trying out, you could try compressing your signals by type. This means compressing the drums separately from your melodic and harmonic elements. Meaning you create two compression busses one for percussions and one for over compressing the rest (mixing the dry/wet to taste). Then in your master you keep the glue compressor as tame as possible with only compressing 2-3db MAX. This is a method Andrew Scheps used to use in his productions.