Marketing names aside, I can offer the following comments on this.
The key problem ML faced is how to improve the integration of the panels to the woofer.
Most models are crossing over in the 250 to 400hz region, where the panels own low-frequency anechoic output begins to fall off plus the double-whammy of the dipole cancelation beginning to have significant impact below 500hz.
So the problem is, here you have some amount of acoustic radiation in the critical crossover region being dipolar (from the panel), trying to mate with a single woofer (in the original series). The problem is that while one can create a smooth crossover for the woofer, the panels acoustic output (due to dipole cancelation) is changing in ways that’s extremely hard to compensate for with passive crossover topologies.
So one approach is to use more than one woofer driver to help create a lobbing pattern in the mid-bass that will help integrate the crossover region better when placed in-room.
By playing around with how much out-of-phase (relative to the ESL rear wave) is fed to the rear (or down) facing driver, one can use the woofers output to help cancel some of the rear wave’s crossover-range interference.
Note that this is all about improving the blend across the crossover range.
Once you get below 80hz, sound is omni-directional, and the distances between the drivers are pretty meaningless in terms of lobbing and cancelation. The electrical phase relationship between the two woofers will have more to say about whether low bass is reinforced or not.
The balanced forward solution seems to be (and this is conjecture on my part) an in-phase electrically configuration, where the rear facing driver is used to help reduce rear-wave cancelation.
Additionally, the in-phase operation of the opposite side of the cabinet drivers do help cancel physical motion of the cabinet.
The ForceForward is more of a blended phase solution (I’d think) as the lack of a rear-facing driver will limit the management of the rear wave cancelation possible at frequencies above 120Hz.
Also, they are clearly working hard to innovate crossover designs that really improve the blend.
One of the advantages they have with Spires and Summits is that the bass crossovers can be done using active crossovers (vs passive), so more complex topologies and EQ can be applied (although I believe it’s all still in the analog domain, no DSP as far as I know)
Again, all the above is semi-educated guesses on my part. For all I know they’re laughing their heads off at the Factory