Well, once the base mechanics of the fight are set up and Chrollo’s pulled off a few tricks, the mechanical complexity of this fight gives way to a gorgeous clarity of conflict and scale of setpiece. By combining his mind control powers, shape-shifting powers, and doubling powers, Chrollo is able to conceal himself within the Heaven’s Arena crowd, while simultaneously creating an army of clones ready to obey his commands. By further employing the devastating effects of Sun and Moon, Chrollo turns this army into a standing force of suicide bombers, all standing by to explode as close to Hisoka as possible. The second half of their fight is essentially Hisoka versus an entire stadium of suicide bombers, a conflict of insane scale brought to life with some truly jaw-dropping visual setpieces.
The second half of that battle also allows Togashi’s visual talents to shine. Togashi’s strengths as an artist are a strange bunch. The man has a very strong grasp of anatomy and bodily motion. An early shot of a severed head being weighed against a bowling ball underlines Togashi’s sense of mythic whimsy, while the minimalist evocation of an angry outburst reduced to splashes of ink demonstrates his strong eye for visual drama. Strange monsters melt through the walls of a ship, while Hisoka’s design shifts dramatically depending on the goals of a panel. And yet, in spite of all this visual eccentricity, there are still plenty of panels demonstrating Togashi’s grasp of the fundamentals. The clear impact of Chrollo landing his first clean hit. The dynamism of Hisoka making a desperate bungee gum escape. The beauty of a page framed as one continuous cycle, a trick he pulls off both through dramatic shading and through the natural curvature of the arena.