Jim Mooney's Wildfire strip includes a couple of kidney bean panels that I can't necessarily explain formally, though this one, looking down an underground tunnel does play. It creates uncertainty as to what could be in the dark, unseen corners. And to my eye, it also looks like an artist's palette.
Speaking of art...
You can have strangely-shaped panels, or you can do without panel borders entirely, and Mac Raboy's fight montage, with different moments stepping on one another looks very good indeed (even in blurry microfiche), even when you isolate the pieces as I've done here. Instead of the ubiquitous border, he instead goes for color washes that spotlight each segment.
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