IGN's Eykemans felt that the controls 'make half the experience frustrating', and Destructoid's Sterling described them as 'by far the biggest barrier toward enjoying' the port. A major difficulty the team encountered was converting all game elements into a fully 3D world, including the sound and radio stations, as well as designing and voicing the non-player characters, due to the amount that existed within the open world producer said that there was about 8,000 lines of recorded dialogue in the game, while audio programmer Raymond Usher estimated about 18,000.Įurogamer's Dan Whitehead appreciated the driving mechanics, but felt that moving on-foot is 'a flaky way of navigating' the world, and criticised the 'clumsy' shooting mechanics as most of the guns cannot be manually targeted. Executive producer felt that the game's 3D element allowed the 'chemistry of the team to come together perfectly for the first time'. Benzies felt that creating a living city was the 'underlying principle' of the game's concept during development. The game's size also created difficulties for the testers, due to the variety of options. Despite this, the team found it difficult to fit the game into the PlayStation 2's 32 megabytes of, due to the scale. The console's ability to use, an improvement over the 's limit to, allowed the team to store more data, such as animations, music and environments. Benzies stated that the intention was to recreate the 'freedom and diversity' of the previous games in a 'living, breathing 3D world', using the power of the to do so.

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