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The distinction between stories about the human experience that happen to feature diverse casts, and identity-thesis content that uses demographics as its central premise — dividing rather than connecting audiences.
Which studios tell universal human stories and which lean into identity-thesis content?
| Studio | Titles | Universality | Agency | Self-Congrats | Advocacy |
|---|---|---|---|---|---|
| Paramount Television | 2 | 7.5 | 7.5 | 1.5 | 19.5 |
| Capcom | 3 | 8.33 | 8.67 | 1 | 3.33 |
| Capcom Development Division 1 | 4 | 8.5 | 9 | 1 | 2.75 |
| BioWare | 4 | 8.5 | 9 | 1.25 | 6 |
| Square Enix Creative Business Unit I | 3 | 8.67 | 9 | 1 | 3 |
| Naughty Dog | 6 | 8.83 | 9 | 1 | 1.67 |
| Toei Animation | 6 | 9 | 7 | 1 | 0 |
| Science SARU | 3 | 9 | 7 | 1 | 0 |
| CoMix Wave Films | 3 | 9 | 7 | 1 | 0 |
| Studio Ghibli | 3 | 9 | 7 | 1 | 0 |
| Trigger | 2 | 9 | 7 | 1 | 0 |
| Studio Chizu | 3 | 9 | 7 | 1 | 0 |
| Supergiant Games | 2 | 9 | 9 | 1 | 1 |
| tobyfox | 2 | 9 | 9 | 1 | 1 |
| Blizzard Entertainment | 3 | 9 | 9 | 1 | 0 |
| Production I.G | 2 | 9 | 7 | 1 | 0 |
| Lerche | 2 | 9 | 7 | 1 | 0 |
| Lucas Pope | 2 | 9 | 9 | 1 | 0 |
| P.A. Works | 2 | 9 | 7 | 1 | 0 |
| Firaxis Games | 2 | 9 | 9 | 1 | 0 |
| Nintendo Entertainment Planning & Development | 2 | 9 | 9 | 1 | 1 |
| Frictional Games | 2 | 9 | 9 | 1 | 0 |
| Playdead | 2 | 9 | 9 | 1 | 0 |
| Looking Glass Studios | 2 | 9 | 9 | 1 | 0 |
| Team Ico | 2 | 9 | 9 | 1 | 0 |
| Nintendo | 2 | 9 | 9 | 1 | 0 |
| A-1 Pictures | 11 | 9 | 7 | 1 | 0 |
| FromSoftware | 2 | 9 | 9 | 1 | 0 |
| BioWare Edmonton | 3 | 9 | 9 | 1 | 0 |
| Konami Computer Entertainment Japan | 3 | 9 | 9 | 1 | 0 |
| PlatinumGames | 2 | 9 | 9 | 1 | 0 |
| Atlus | 3 | 9 | 9 | 1 | 0.67 |
| White Fox | 2 | 9 | 7 | 1 | 0 |
| Sunrise | 4 | 9 | 7 | 1 | 0 |
| Bones | 8 | 9 | 7 | 1 | 0 |
| MAPPA | 6 | 9 | 7 | 1 | 0 |
| Square Product Development Division 1 | 2 | 9 | 9 | 1 | 0 |
| Madhouse | 16 | 9 | 7 | 1 | 0 |
| Gainax | 2 | 9 | 7 | 1 | 0 |
| Manglobe | 2 | 9 | 7 | 1 | 0 |
| Pierrot | 2 | 9 | 7 | 1 | 0 |
| TMS Entertainment | 3 | 9 | 7 | 1 | 0 |
| CloverWorks | 4 | 9 | 7 | 1 | 0 |
| Kinema Citrus | 2 | 9 | 7 | 1 | 0 |
| Kyoto Animation | 5 | 9 | 7 | 1 | 0 |
| J.C.Staff | 4 | 9 | 7 | 1 | 0 |
Does the core story work regardless of character demographics? A 10 means the story is about human experiences that transcend identity. A 1 means identity IS the story — the premise only exists to make a demographic statement.
Incidental — identity is just who characters are. Present — identity is acknowledged but not the focus. Prominent — identity shapes the narrative significantly. Thesis — identity IS the reason the show exists.
Does the content invite all audiences in? Universal content connects across demographics. Exclusionary content deliberately alienates or antagonizes groups while congratulating itself for doing so.
Do characters have real agency, accountability, and growth? Or are they defined primarily by victimhood, with the narrative removing their accountability? High agency means characters are treated as full human beings.
How much does the content pat itself on the back for its own progressiveness? A 1 means the story speaks for itself. A 5 means the messaging IS the point — the content exists to signal virtue rather than tell a story.