The film contains no discernible presence of non-heteronormative identities. Narrative arcs focus on traditional romantic tropes, such as the hero falling in love with an enemy's daughter.

Agency is concentrated within the male protagonist, prioritizing male-driven conquest and leadership. Women appear primarily as romantic interests or figures within the domestic and tribal spheres.

The production utilizes a predominantly Filipino cast to portray Mongol and Central Asian figures. This localized casting disrupts Western-centric norms often found in international historical epics.

The story focuses on tribal survival and shamanistic historical contexts rather than Western institutional values. However, it leans toward the glorification of conquest through classical epic storytelling.

There is no evidence of characters with visible or invisible disabilities being portrayed with agency. No such characters serve as central narrative elements.