So.... the thing is.... I'm not. 
I've had that blurb since I was in the Action section of the site. I only moved my comic over to the LGBTQ+ section and made my blurbs and ads and things more explicitly highlight that my comic contains queer romance and characters after friends with much larger followings really urged me too. And frustratingly they were right. It did appreciably increase my series' profile.
See, I actually wanted to build an audience based on the objective quality of my comic. I wanted to tell a really fun story with characters you can get invested in and then for the fact that most of the cast are queer and there's romance to be a nice surprise! I thought that the aesthetics of the series evoking other series with similar themes would be enough... but it's not. There are a lot of people out there who really just want a clear answer to "is this about underrepresented people on more than just a token level, yes or no?" and "are the politics of this story ones that are close enough to my own that I won't come across stuff that pisses me off?" ...and I know some people will decry that as shallow behaviour, but honestly I had to suffer through a lot of sci-fi and Fantasy works with casual racism or sexism and weak justification for authoritarianism when I was a teenager, and sometimes you really do want your escapism to not devalue or question your existence or ideals like your real life does. I'm a huge Terry Pratchett fan, but I really can't say friends who don't read the Discworld books with Agnes Nitt in because of the aggressive fat shaming are wrong for doing so.
So I actually would love it if I lived in a world where I could market my work based entirely on my skills, and early on, my marketing leaned a lot more into that. "I'm a national prize winning comics creator! I've been published! Check out my new thing! It's a shounen manga with a twist!" etc. But it just wasn't as effective as saying "listen, I promise you, it gets gay later, okay?" "Look at all the different flags my characters have!" "My comic has an autistic character!" I don't actually like it, but the problem is, it works.
That Lord of the Rings series looks... bad. Personally I saw the trailer and was just like "...nah, this looks tacky and too much like a generic Fantasy Mobile game to evoke the work of Tolkien", and was really surprised by how much people were talking about it... and it was all around the diversity stuff. First Kill is the same; it's a bad show, it's literally just another dime-a-dozen live action paranormal show like you'd see on SyFy or Channel 5 in a non-prime timeslot. These series... actually benefitted by advertising themselves around their representation of marginalised people, because it's really the only thing that stands out about them, and it's a really easy way to get people fired up and talking passionately about something that otherwise is "just another show."
There may be a few savvy people out there who roll their eyes at a series being marketed on diversity, or will outright avoid it if it seems to lean too heavily on the representation angle, assuming it may indicate poor quality elsewhere. I know I did this with Gideon the Ninth, which friends told me to read only talking about the fact it was about lesbians, without mentioning that it's actually a really well written story with great atmosphere, rich worldbuilding and a fantastic unique magic system.... but of course, those friends... all of them actually did read Gideon the Ninth specifically because they heard it was gay. They're not even stupid people or anything; they're adult professionals in their thirties! That's just how audiences are these days. An awful lot of people legitimately will decide to read or watch something based on these factors alone, because there's enough choice now that they can. Plus... most people are not very good at appraising the quality of a piece of media and tend to judge "is it good?" on personal appeal a lot more than they might be willing to admit. I mean, that's presumably why I keep meeting people who think Rogue One is the best Star Wars movie; they all praise how "gritty" and "serious" it is, "Like a war movie!!" and don't seem that bothered by the paper-thin characterisation or flat main character whose personality and motivation sharply change halfway through the movie to make the plot happen! Personal appeal of a strong premise can absolutely beat the crap out of objective writing quality!
I would probably have a bigger readership on Errant if I marketed it more on the queer elements and featured them more heavily in the comic itself, and got to them earlier in the story. I don't really like that, and I wish it wasn't true... but it probably is, and a lot of successful Tapas creators I've asked for advice said the same thing. "Readers don't want to be messed around, they're tired of queerbaiting and vague hints, they just want to know 'is it gay? Y/N' and for there to be proof that it is ASAP." This aligns with how popular series on the platform are structured. A lot of comics and novels here launch right into the catalyst story beat almost immediately and then backfill the setup clumsily with narration; no slow building of atmosphere or setting up the character beforehand, just BAM! HERE'S THE PREMISE!... it drives me nuts, and I hate the idea of writing that way, but that's how people compete in an attention economy.
