I've written before about the ways D&D is like (and could be more like) wuxia media. Reading a couple of works by Gu Long before delving back into Legend of the Condor Heroes by Jin Yong again, I've been struck by something else D&D-ish fantasy gaming code steal.
Unlike most Western fantasy fiction and perhaps even Western adventure fiction (which is, admittedly, the more analogous genre to wuxia) wuxia fiction world building doesn't rely as much on description of locales above the single building level. Jin Yong's fiction does give us some local color at times--a description of the region of Lake Tai or the steppes of Mongolia--but it's a relatively small amount compared to say Robert E. Howard's Conan for the page count. Gu Long's stories sometimes come across as almost taking place in a vague "Wuxia-Land" comparably to a "fairy tale" Europe of knights and dragons--or the environs around a D&D dungeon containing the necessary locales at not much else.
What really does the worldbuilding heavy lifting in these stories is the description of the world of the Wulin or Jianghu: the styles, techniques, and personalities--but particularly the relationships between practitioners. This is seen most robustly in Legend of the Condor Heroes with its generations of shifu and students.
Sometime before the main action of the story the five greatest martial artists of the land came together in a contest to decide the possession of a legendary manual of kung fu secrets. These masters each had a distinct style and resided in a particular cardinal direction. By their nicknames they are the Northern Beggar, the Southern Emperor, the Central Divinity, the Eastern Heretic, and the Western Venom.
These characters' influence is felt throughout the story, and their various students and scions interact, jockeying for power, playing out old enmities, and uncovering secrets.
I think this factional approach could be put to could use in worldbuilding in fantasy games. Instead of inventing various cultures and regions (though there's no reason you can't do that too) establish a relatively culturally homogenous region and instead link characters in some way to various factions. The Icons of 13th Age sort of do this, I think. (I think, because I've really only ever read about 13th Age.)
This sort of approach makes the worldbuilding potentially of more interest to players because it more directly impacts them in play. Maybe they don't start out knowing much about other factions, but if the game is run in the right way, they soon will--or at least will be motivated to learn more.