My approach is heavily fed from illustration techniques and your good ol' trial and error. Emphasis is almost always on characters/figures so the work of building an environmental setting often gets pushed to the backburner. "Guuuuh, I don't wanna draw door knobs and light poles and little pieces of trash on the pavement, I wanna draw a pretty face or an ugly monster!"
Those elements of a scene totally do play into perspective, though. If they're tailored into the mood/how emotion plays out per panel, background aspects become cool little investment properties. Which is why scenes with little flowers with heart-shaped centers growing in a flowerbed impact a character reading a love letter they found in their mailbox~ CUTE.
Take the details and make them work for the scene in lieu of making them work for basic ideas. In the rough sketch phase, I designate quick, fast lines in negative spaces and flesh them out as I go as a complement to that negative space. As the brain processes just how the characters are presented at an angle with respect to setting, perspective works out organically.
So, it's more a game of "this is how it'd be seen" instead of "this is how it is".