The process was handled by the game's sound team and overseen by Mizuguchi. Having previously appeared in the first game as a brief cameo after being impressed by a pre-release version, he was given a much-expanded role in the sequel. The main theme was "Mexican Flyer", composed by Ken Woodman in The first rhythm battle created was against rival reporter Pudding, who uses a guitar.
The early plan was for a percussion opening, and it had a faster tempo than the released version; Hataya and Yoshinaga collaborated on the track for a long time. The percussion was moved to a different boss character called Pine. The soundtrack saw multiple album releases; two of the originals had three of the six reports, additionally from tracks from the Ulala's Dance mode with vocals.
The songs retained their lyrics for the album release as without them, they would have lost a key musical elements. The localization was troublesome for Sega due to the song lyrics; they needed to translate it into English while keeping the meaning and roughly the same number of syllables.
This version was published by Agetec on November 18, Part 2 later received a high definition port as part of Sega's Dreamcast Collection.
The Windows version also offered a standalone purchase option via Steam. Upon its debut in Japan, Part 2 reached the top of sales charts. Japanese gaming magazine Famitsu gave both versions of the game a score of 35 points out of Andrew Reiner provided second opinion for Game Informer stating that Part 2 —while not as memorable as the original—was still highly enjoyable. Christian Nutt, writing for GameSpy , praised the sequel for an improved visual style and musical variety; he particularly noted Jackson's inclusion, saying the cameo highlighted his professional skill.
IGN ' s Douglass Perry said that Part 2 fixed the first game's faults and added new elements to enhance the gameplay. He praised the more ambitious presentation, expanded musical styles and greater scope of content. Reviews of the Dreamcast Collection version were less positive, though most criticism focused on the collection as a whole.
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