^ It's the Lupin III approach to thrilling storytelling- if you make one character a Holmes-esque mastermind and all the others except for the villain dumb or average, the story tends to lose the potential for twists and interesting side characters. The same goes for making one or two characters psychopaths and the rest largely ordinary, which is a staple of Western police procedurals. On paper, it's a good idea, because the functional human beings work as foils to the savants/psychos, but thanks to extreme repetition, side characters often just become pawns in a long series of mindgames between the protagonist and the antagonist, used mostly for relationship drama and exposition (this is evident in stories that range from Death Note to Hannibal).
Making nearly every supporting character into a genius/psycho/badass is risky, because you'll run into Narita-esque muddles and an extremely convoluted story that wavers under its own weight, but if the writers can swing it, then readers are in for a heart-pounding, unpredictable story where backstabbings, coups, murders and insights can come from any direction, turning what would normally be a mindgame match into a battle royale driven by reflexes, improvisation and quick thinking. This story handles it quite well, methinks.
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