Do you have more information on the staff of "Angel 2 - Dominatrix of Mystery"? Contact the Retro Anime Preservation Project to help restore this lost classic.
The story opens not with action, but with a whisper. The protagonist, (a new character unrelated to the first Angel ), awakens in a penthouse suite overlooking a rain-soaked Tokyo metropolis. She has no memory of the past 48 hours. Tattooed on her inner thigh is a barcode and the word "Servo."
Rei is a high-class dominatrix by profession, but in this narrative, mystery is the true mistress. A client, a politcian named Kuroda, has been found dead in a hotel room—strangled with a cat-o'-nine-tails. Rei is the prime suspect, but she has no recollection of the act. Angel 2 - Dominatrix of Mystery -Kadokawa Pictu...
Kadokawa Pictures’ role was unique: they provided the music budget and the film stock but gave the creative team nearly total freedom. This resulted in an OVA that feels more like an arthouse film than a commercial hentai. In fact, Angel 2 was marketed in Japan as a "suspense thriller for mature audiences" rather than in the "bishoujo" sections of rental shops.
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To understand Angel 2 , one must first understand that it is a sequel in name only. The original Angel (1990) was a violent sci-fi thriller about a female cyborg assassin. It was gritty, bloody, and relatively straightforward.
By the 25-minute mark, the viewer realizes that Angel 2 is not a murder mystery but an identity mystery. Rei may not be Rei at all. The Puppeteer reveals that "Rei Mikazuki" is a composite personality—three different women’s memories stitched together via experimental subliminal therapy. The dominatrix persona was a failsafe to keep the violent alters locked away. The protagonist, (a new character unrelated to the
One of the most elusive titles in that library is (often stylized as Angel 2: Hihon no Reijō or Angel 2: Mistress of Mystery ). For decades, this 35-minute OVA has been the white whale for collectors of retro hentai and cyberpunk noir. But what makes this title—so obscure that even Kadokawa’s modern streaming catalog overlooks it—deserve a long-form analysis?