You've gotten a lot of generalities here so I thought I'd add a few specifics.
1. There are only a few professional quality paper makers in the world and most (if not all) of the inkjet paper manufacturers buy from them and then have their propriety coatings added later by a coating company. For instance, Hahnemuhle and Canson have been making paper for centuries so many other inkjet paper companies (Moab, Breathing Color, Red River, Innova Art, etc.) could easily be selling Hahnemuhle or Canson paper but with their own specific coatings on it. But even Hahnemuhle and Canson have someone else coat their papers for them.
2. There are only a few paper base combinations available, such as cheap paper with a plastic over coating on both sides, commonly known as RC (resin coated). These RC papers include the ever popular economical glossy, satin and luster papers used in photo labs worldwide, but also sold by all pro inkjet paper manufacturers as well (everyone wants a cheap line). These universally contain OBAs to add an extra color punch.
The two other main papers are 100% Cotton "rag" and Alpha-Cellulose, whose primary difference is their source, the first from cotton, the second from wood pulp in which all the lignin has been removed (lignin will eventually decay and produce acid byproducts so its removal is essential for anything to be considered archival). They are both acid free and considered "archival" which itself is a undefined term and is used primarily for marketing purposes. Their only noticeable difference is in their texture, the cotton being softer and more flexible whereas the Alpha-Cellulose is stiffer and more like poster board. I prefer the cotton because of feel, but functionally they are the same. Variants can also include whether they have any added alkaline buffering agents such as calcium carbonate to help neutralize airborne acid gasses, which further adds to their long term stability. These may or may not contain varying amounts of OBAs depending on what the company wants.
3. Lastly are all the specialty papers made from bamboo and other exotic materials each with their own unique look which, unless you have a specific need for them, can easily be ignored. But the one "paper" you may want not want to ignore is actually made from polyester and is usually called "white film" or sometimes is designated as "superglossy."
This polyester substrate has some very useful qualities like having a perfectly smooth surface so there's no paper texture to interfere with the finest detail as there is in all other papers. It's also totally resistant to any environmental conditions (except fire, of course) especially water and/or high humidity environments that could cause all other papers to warp, swell or mold. This is the same material that the old Cibachrome and Fuji Superglossy was (and still is) made from. It produces its own unique look unmatched by anything else except the new metal printing process. It's also the only roll paper that has virtually no curl and that will hang almost perfectly flat in a frame without being dry mounted (which can save you both time and money). It is a little more expensive than the best cotton papers but for me it's worth it for all the reasons listed above. I've printed some very beautiful photos with it but quit using it when Ilford went bankrupt, as I was using their version and have not yet got around to testing other companies (Mitsubishi, Canon) versions of it. It also contains OBAs.
4. Now a word about OBAs. They can be either the worst thing ever added to papers or one of the best depending on who you ask
and what their priorities are. All natural paper has less reflectivity in the blue end of the spectrum (check Ernst's graphs for natural papers) which causes them to have a yellowish cast. The OBAs take invisible UV light and turn it into visible blue light which, if added in just the right amount (often in the paper itself instead of the emulsion), can neutralize the yellow cast and make the paper's reflectivity flat across the entire visible spectrum. This neutralization does not require a lot of OBAs and so when you see a paper description say "low amount of OBAs" this is normally what they mean. Theoretically this neutralization can help produce more accurate colors.
The purpose of adding any more beyond this small amount is specifically to boost the brightness of the paper to make it puncher looking, which many consider a form of lying to the customer as this effect can fade in a relatively short time (which is why many hate OBAs). Also OBAs will fade faster when added to the emulsion than the paper, as their speed of fading is directly related to their exposure to UV light. So a print made from a paper with OBAs framed behind glass, which blocks a lot of UV, may take decades to fully fade. And even if it does fade it will only add a slight yellow cast to the photo as the paper returns to its normal color. But as most inkjet yellow inks fade faster than the other colors, the OBA fading causing the paper to become more yellow, may actually be able to partially make up for the loss of the yellow ink (you never know).
5. The final thing to consider is the printer itself with its ink, specific head design and algorithm which tells the head exactly how to lay down that ink. Each company has its own proprietary ink formulations which can interact differently with the different paper emulsions, and there's no other way to know what the result will be except to just test them all and see what you get, which is what Henry Wilhelm and Mark McCormick are doing (as money permits).
Now I don't know if I've made your question easier or harder to answer, but as least maybe you now have a better understanding as to why there is no one simple answer.