Personally I only get creative with panels when I really want something to make an impact, like on an action page. I think if you do it every page, it stops having a real impact because it won't be a break from the norm. I think people often overuse wacky panel layouts, and it always reminds me of that famous Roger Ebert quote where he was reviewing the movie "Battlefield Earth" which overuses "Dutch Angles" (tilting the camera on a diagonal):
"The director, Roger Christian, has learned from better films that directors sometimes tilt their cameras, but he has not learned why."
The director of that movie tilts the camera because he's seen directors tilting the camera and thinks it looks cool and dynamic... but the actual reason to tilt the camera is to create a sense of unease and to throw the viewer "off-balance". If even your conversation scenes are filmed like this, it not only evokes a sense of motion sickness from always being off-balance, but it means if you want to create a sense of things being uncomfortable or freaky...what can you do? Tilting the camera doesn't work when the camera is always tilted.
So when I make most scenes, like a conversation in a room, my panels are just rectangles with a bleed panel here and there. The next level of escalation tends to be a panel that bleeds on three sides so it really feels "big" and unconstrained, taking up the whole space. The next level is diagonal gutters, which add an "off-balance" feeling or a sense of speed and dynamism, so I usually use them for action scenes. The final level of escalation tends to be when things break outside the panel borders or the borders disappear completely and it's just an entire full page image without them. So one of the fanciest panelled pages I've ever done in Errant was:
And really even this is quite structured. There is still room to escalate higher if I need to if say when the protagonist is ten years older she fights something so massive the impact can't be constrained with panel borders:
So if I ever use an effect like shattering my panels into tiny pieces or having the borders hand-drawn, the reader will know just how completely fubar that situation is, how far beyond normality we've gone that even the panels are broken. I've left myself that space to intensify because we're not at the climax of this comic yet.
In summary: Use simple panels as your baseline and you'll always have a place to increase the intensity. You can't raise the volume for the big climax if even your regular conversational panels are loud.