This was all the standard "bad shounen pacing" tropes.
1. "Here's a badass attack! And it looks like it was effective!"
2. Never mind. It was completely pointless.
3. "Here's another even more badass attack! And this time it definitely seemed to be effec-"
4. Never mind. It was completely pointless.
5. "Oh no! Things look hopeless! That was all they had!"
6. Never mind. Here's a convenient exposition dump.
It just makes it so that you can't take any moment in the fight seriously because the author goes all Lucy With The Football when it comes to the effectiveness of literally any attack.
I've mentioned this exact thing before, because it happens particularly frequently in this manga. In fact I mentioned it in the last chapter's thread.
I've become a little less outright annoyed by it, and more... apathetic towards the entire work. Naturally, it's a common writing trope because people
do "fall for it", especially if they have enough time between releases/instances to forget the narrative patterns but not the plot itself (such as, say, a month or more). It's the kind of thing that becomes much, much more obvious with a binge read. Lucy with the football really
did work as a (yearly) gag, after all.
Now, there's
nothing wrong with enjoying this kind of pacing, and it is somewhat telling that the reply "disagreeing" with you was describing the very narrative structure you're complaining about in a more positive tone (i.e. the trope fitting is objectively true; how a reader feels about it is subjective). It's enjoyed by people who either aren't thinking about the narrative structure of the work as a whole (which is fine), or simply aren't concerned with the implications that last minute reversals of multiple fights have on the stakes/tension of other fights (also fine).
Someone like me, on the other hand, who's autistically looking at the patterns in narrative structure, will see the reversal coming for the entire fight, potentially chapters ahead of it happening, and thus be less invested in the current tension. I've seen the rubber band snap too many times. For people who do notice or care about that, it's a kind of tension building strategy that only really works a few times (or at least when used infrequently enough to not be predictable) - boy who cried wolf and all.
For me, to get and keep real tension, sometimes a story really
does just need a fight that goes one way, and
ends that way (stalemates included). Or at the very least has less abrupt, less last-second changes in 'victory/defeat inertia.'