The film contains no discernible LGBTQ+ characters or non-cisnormative identities. The narrative focuses entirely on mythological and biological conflicts.

Gender roles follow traditional 1960s hierarchies, with male-led scientific and military responses. While the Shobijin are central, they act as spiritual symbols rather than independent agents.

The film avoids the white savior trope by portraying the indigenous population as rightful stewards of their land. It contrasts a Japanese expedition with the island's native inhabitants.

The story critiques unchecked capitalism through the antagonist Clark Nelson. It elevates ancient traditions and ecological balance over modern industrial progress.

There are no prominent depictions of physical or neurodivergent disabilities among the primary cast or character arcs.