Dem der har spillet Disco Elysium ved at spillet ikke bare er meget teksttungt, men at der ligeledes er en utrolig tilpasselighed i den måde spillet former sig efter spillerens valg, væremåde og prioritering. Det kræver at holdet bag, det nu lettere opdelte ZA/UM, skrev og skrev i et væk for at sikre den her narrative frihed.
Men på et tidspunkt hen af vejen skrev de så meget, og placerede så meget tekst i spillet, at spillets grafikmotor vitterligt vaklede under vægten. I skaber Robert Kurvitz' nye bog, Sacred and Terrible Air, beskriver Helen Hindpere denne proces:
"I think every one of the writers that we had on the team previously had a problem with not writing enough., and then for the first time ever the problem became that we were writing too much. Like, there wasn't enough time to edit it, to go over it, we would have to cut some parts. But then everything written was so good that you were like, 'We're gonna just have to find the time.' And that was all because of Articy. There was a lot of dialogue so it got quite janky—at some point froze completely, because it definitely wasn't built for it. We contacted them as well, and they were like, 'Yeah, you know this is the first time anyone's coming with those problems to us, so we don't really know what to do.'"
Articy er et særligt stykke software, der implementerer branching-narrativer i interaktive oplevelser, og denne software kunne vitterligt ikke klare mængden af tekst i spillet.