I think that what makes Nixvir stand out from the crowd is its Britishness. Nixvir's world is drawn from old-fashioned historical British customs and attire. I suppose another thing that makes it stand out is how quirky it is - particularly, the notable lack of humans in its high fantasy multiverse. This is because I got sick of seeing human beings in high fantasy settings, even in places where it wouldn't make sense for them to be - I mean, it's not like chimpanzees exist in Scadrial, for instance. Thus, the World Oak is full of unique species, such as Schruntlips, Kekshan, Belet and Mossynoikoi, creatures with names that are admittedly hard to pronounce.
I suppose another thing that makes it unique is that, while it has snowmen and scarecrows as its main characters, it doesn't really paint them as clowns or buffoons, instead portraying them as deadly serious as possible. One of the themes I use the snowmen for is partially to critique religious fanaticism. Too often do I see snowmen being treated as buffoons in children's media and not taken seriously as characters (looking at you, Olaf), and so I decided to do something different with them.
As you can see, the snowmen have a wide variety of designs as well, as this is my way of showing that other sentient species in this setting are capable of making snowmen. There is a snowman by the name of Lilac who believes himself to be a unicorn because he was built by one, and resembles a unicorn to a certain extent.
The various locations of the World Oak are designed in a sort of unique manner. Take for example my redesign of Vunfraen City.
I deliberately design most cities in my setting to reflect the fact that, in the World Oak, class divisions are still alive and well. Every major city has an upper level where society's elite and middle-classes live in lavish luxury, while beneath them exist the slums; as you go up layer by layer, the people living on each layer get more and more wealthy.
