The creation of the scenario intensified the difficulty more than anyone had imagined.
For example, a scene in which two characters converse. Feeling as though a scene containing two characters simply facing each other and talking would look dull, Yokoyama added the following to the scenario:
"There is a momentary pause in conversation. He picks up the glass from the desk and takes a drink of alcohol."
This single line created a huge problem.
With a live-action film, simply filming a glass during a spare moment while the actor is shooting would suffice. However, games are a different story. The glass needs to be modelled, the effect of a clear liquid moving around inside the glass must be created, and the motion of the hand of the person holding the glass needs to be performed by the staff.
A single sentence in the scenario can have a profound effect on labour expenses and development schedule. Was this action truly needed enough to break the budget for it, or should it be removed? Each of the scenes was put up against each other.
Getting the balance between story and battle was also tough.
Action adventure games are usually composed of roughly ten chapters. It is standard fare for the protagonist to fight with a boss character at the end of each of these chapters. This means that the story must be set up in order to guarantee that there be an important person to battle with at each key point of the story.
For example, let's say that the boss of one chapter is an upper management-level yakuza. If the boss of the following chapter is nothing more than a street punk, the player will likely lose interest. It is imperative to put in a character such as a martial artist, who appears strong but in a different way to an upper-class yakuza. That said, if you simply put a fighter who has never been mentioned before in front of the protagonist, the story becomes incoherent. It took all kinds of hardships in order to carefully depict the story at the same time as gradually introducing strong enemies.