I do indeed agree, which is why 99% of my gaming time is spent with Nintendo and Sony exclusives or indie games, because you absolutely can tell when corporate interference has been at play behind the scenes in games.
I do however think that creator driven, rather than corporate/marketing driven games tend to be more divisive and likely to cater to specific niche audiences more often, even if that niche is a massive one, like with regards to gendered taste trends, even if that wasn't an active intent by the creator(s).
That's part of what I objected to originally, with regards to the criticsm of CP2077 catering to men more than women.
CDPR games are great because they're creator driven, and thus more likely to be a work of art with a particular vision and story to tell, that may well be more appealing to men (or women, or the French, or fantasy nerds, or whomever), but just because that's the case, it's not a reason to mark it down or criticise it.
By extension, I think the same is true for TLOU2, which was made explicitly to appeal to a female and politically far left audience, prominently focusing on elements and ideas that I personally found unappealing.
However the fact that it doesn't cater to my tastes or politics does not mean I feel it should, or doesn't deserve the praise, awards and rave reviews it has received. It just doesn't cater to my 'demographic', and that's fine. Hell, to the people that love it, catering to my tastes would likely make it worse for them, and I'm not egotistical enough to think my tastes are more important to be catered to than others.