文旅案例 | 品牌策划差异化：从成本项到品牌护城河、定义赛道而非追随赛道

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一、引言 | 文旅同质化困境与品牌策划的范式转换

“十五五”时期临近，中国文旅产业正经历一场深刻的结构性变革。一方面，居民消费升级催生了高品质、多元化、创新化的文旅需求；另一方面，景区业态单一、体验同质化、文化与商业割裂等问题日益凸显。据统计，中国现有各类度假区超过6000个，但“度假区里缺乏优质酒店，景区与酒店经营割裂”成为普遍现象。与此同时，全国古镇类度假目的地2025年暑期整体业绩下滑30%至40%，标志着粗放式扩张时代的终结。

在这一背景下，品牌策划的使命正在发生根本性转变。传统的文旅品牌建设往往遵循“资源禀赋—产品组合—营销推广”的线性逻辑，将品牌视为既有资源的“名片”或“包装”。然而，当“山水甲天下”“文化底蕴深厚”成为千篇一律的自我描述，当玻璃栈道、网红秋千沦为标准化配置，真正的差异化便不再源于“有什么”，而在于“意味着什么”——即品牌能否在消费者心智中占据一个独特的位置，能否让游客“为一个好单品，赶赴一座城”。

二、文化转译 | 从“有什么”到“意味着什么”

文化不再是背景，而是叙事的内核：在品牌策划的视野中，文化不应是景区的“背景板”或“装饰物”，而应成为驱动消费者情感卷入的核心叙事资源。河南文旅的实践为此提供了深刻启示：河南拥有“伸手一摸就是春秋文化，两脚一踏就是秦砖汉瓦”的厚重家底，但一度陷入“有说头、没看头”的尴尬。其突破的关键，在于完成了一场“资源观革命”——从“文物保护”的被动思维转向“文化转化”的主动进攻，从“搬运工”转变为“转译者”。所谓“文化转译”，就是用现代的语言、体验的方式、情感的触点，将古老文明的精神内核翻译给当代消费者。河南的成功项目无不遵循这一逻辑：万岁山武侠城将整个景区视为“宏大片场”，游客从“旁观者”变为“局内人”；河南博物院通过“考古盲盒”让文物走出展柜、融入生活；殷墟博物馆借助数字技术让甲骨文“跳”进现代生活。正如中国旅游协会会长段强所言，旅游正从“眼球经济”升维至“心灵经济”，而文化的转译能力正是实现这一升维的核心工具。在地文化的深度挖掘与IP活化：如果说河南的经验侧重于“历史文化的当代转译”，那么江苏窑湖小镇的实践则展示了“在地文化的IP活化”路径。窑湖小镇位于宜兴阳羡生态旅游度假区，依托当地丰富的陶、竹、茶资源和“中国天然氧吧”的生态禀赋，并未止步于展示这些元素，而是将其转化为可体验、可传播的超级IP。其核心策略是“产品力即传播力”。窑湖小镇洞察到，年轻消费群体不再将一个地方的“整体性”作为出行决策依据，而是愿意为某个独具特性的“微场景”千里奔赴。基于此，景区打造了“云上的小火车”“龙腾水秀烟花”“窑湖四季水世界”三大超级IP，并根据季节裂变出繁花专列、采茶专列等四季IP。春季推出的“繁花之境”超级流量场景，利用闲置资源创造高颜值打卡点，上线3个月实现全网曝光超2亿次。这种“超级流量场景引流+完善的配套体验+互动演出增加溢价”的组合，打破了传统古镇的刻板印象，强化了乐园属性与时尚感。更具启示意义的是窑湖小镇对“在地文化”的处理方式。宜兴是紫砂矿原产地，窑湖小镇并未简单建造一个紫砂博物馆，而是将“千年窑火”的精神内核转化为“开龙窑”“千年窑火颂风华”等核心演艺IP，让游客在沉浸式演出中感受陶都的文化脉动。这正是文化转译的精髓：不是展示“我们有什么”，而是让游客体验“这意味着什么”。文化转译的微观实践：从“守寨人”到“东坡宴”。文化转译的能力不仅属于大型文旅项目，也正在成为“小而美”市场主体的核心竞争力。贵州“趣游吧”旅行推出的“守寨人计划”，深入深山寻找承载老手艺与民族记忆的“守寨人”，将他们的故事与技艺转化为旅游产品的核心内容。在这里，文化不再是博物馆里的静态展陈，而是活生生的人、鲜活的故事、可参与的日常。同样值得关注的是杭州“裸心游”对江南文化的转译实践。其开发的“东坡宴”从苏东坡诗词中挖掘食材、研发菜品，上菜顺序暗合东坡人生历程，餐桌美学围绕西湖山水创作，并与艺术家合作将东坡形象制成文创伴手礼。创始人俞霞玲将企业的核心能力定义为“持续的审美创造力、深刻的文化解读能力”——这正是文化转译能力的专业化表达。

Culture is no longer just a backdrop; it is the core of the narrative: In the perspective of brand planning, culture should not be the "background board" or "ornament" of scenic spots, but should become the core narrative resource that drives consumers' emotional engagement. The practice of Henan's cultural tourism provides profound insights: Henan has a rich heritage of "spring culture when you touch it, and Qin bricks and Han tiles when you step on it", but once it fell into the awkward situation of "having a story but no viewing value". The key to its breakthrough lies in completing a "resource view revolution" - from the passive thinking of "cultural protection" to the proactive attack of "cultural transformation", from being a "carrier" to a "translator". The so-called "cultural translation" is to use modern language, experience methods, and emotional touchpoints to translate the spiritual core of the ancient civilization to contemporary consumers. The successful projects of Henan all follow this logic: Wan Zaishan Wuxia City regards the entire scenic area as a "large-scale film set", and tourists change from "spectators" to "participants"; Henan Museum of Artifacts uses "archaeological boxes" to let the cultural relics come out of the display cases and integrate into life; Yin Xu Museum uses digital technology to make oracle bones "jump" into modern life. As Chinese Tourism Association President Duan Qiang said, tourism is moving from the "eye economy" to the "heart economy", and the ability to translate culture is the core tool to achieve this upgrade.

In-depth exploration of local culture and IP activation: If Henan's experience focuses on "contemporary translation of historical culture", then the practice of Jiangsu's Keliu Town showcases the "IP activation of local culture" path. Keliu Town is located in Yixing Yangxi Ecological Tourist Resort, relying on the rich resources of pottery, bamboo, and tea in the area and the ecological endowment of "China's natural oxygen bar", it did not stop at showcasing these elements, but transformed them into an experienceable and communicable super IP. Its core strategy is "product power is communication power". Keliu Town observed that young consumers no longer take the "completeness" of a place as the basis for travel decisions, but are willing to travel thousands of miles for a unique "micro-scenario". Based on this, the scenic area created three super IPs: "Cloud Train in the Sky", "Dragon Toss Water Show and Fireworks", and "Keliu Four Seasons Water World", and based on the seasons, it split out four IP seasons such as "Flower Scene". The "Flower Realm" super traffic scene launched in spring utilized idle resources to create high-level打卡 points and achieved over 200 million exposures on the internet within 3 months. This combination of "super traffic scene attraction + complete supporting experience + interactive performances increasing value" broke the stereotype of traditional ancient towns and strengthened the park attributes and fashion sense. More instructive is Keliu Town's approach to "local culture". Yixing is the origin of purple clay， and Keliu Town did not simply build a purple clay museum， but transformed the spiritual core of "thousand-year kiln fire" into core performing IP such as "Opening the Dragon Kiln" and "Celebrating the Splendor of a Thousand-Year Kiln Fire"， allowing tourists to experience the cultural pulse of the pottery capital through immersive performances. This is the essence of cultural translation： not showing "what we have"， but allowing tourists to experience "what this means".

Micro-practice of cultural translation： From "Guardian of the Fort" to "Su Dongpo Feast". The ability to translate culture is not only for large-scale cultural tourism projects， but is also becoming the core competitiveness of "small and beautiful" market entities. Guizhou's "Fun Travel" travel company launched the "Guardian of the Fort Project"， searching for "guardians of the fort" who carry old craftsmanship and ethnic memories in the deep mountains， and transforming their stories and skills into the core content of tourism products. Here， culture is no longer static display in a museum， but living people， vivid stories， and participatory daily life. Also worthy of attention is the cultural translation practice of Hangzhou's "Bareheart Travel". The "Dongpo Banquet" developed by them draws ingredients and recipes from Su Dongpo's poems, and the serving order reflects Dongpo's life journey. The table aesthetics are created around the scenery of West Lake and are combined with artists to turn Dongpo's image into cultural-themed souvenirs. The founder, Yu Xiuling, defines the core capabilities of the enterprise as "continuous aesthetic creativity and profound cultural interpretation ability" - this is the professional expression of cultural translation ability.

三、产品创新 | 要么第一，要么唯一“第一”的复利：定义赛道而非追随赛道。在文旅产品日益同质化的今天，“平庸是最大的成本，创新是最低的边际成本”。湖南莽山五指峰的实践为这一论断提供了有力注脚。当全国山岳景区还在比拼“索道多长、台阶多少”时，莽山投入超10亿元建设“全程无障碍山岳系统”——8公里云间悬空栈道、单线最长3.7公里观光缆车、3部山间垂直电梯，让轮椅在海拔1600米的高空畅行无阻。这一决策在当时几乎无人理解，但五年后，银发经济成为国家战略，“无障碍”成为山岳景区标配，莽山早已累计服务40万人次老年游客、5.2万人次残障人士，并被授予“全国首家无障碍山岳型旅游景区”称号。莽山董事长赵东的总结发人深省：“如果我们今天做的事，三年后别人也能做，那我们就已经输了。”这正是“第一”的复利：当你定义了规则，你就永远比别人早跑一个身位。莽山的产品创新遵循“第一性逻辑”：不是第一个装电梯的山，而是第一个把“人的权利”作为产品原点的山。其无障碍设施不仅是功能供给，更承载着“所有人的平等游览权”的价值主张。当一位重度肢残游客在海拔1600米的栈道上对镜头比出“V”字，产品创新便完成了从功能到情感的跃迁。“唯一”的壁垒：构建不可复制的认知护城河。如果说“第一”是时间窗口的卡位，“唯一”就是认知护城河的挖掘。莽山五指峰的独到之处在于，它总能把一个看似所有人都能做的话题，变成“只此一家”的品牌资产。2025年9月，莽山在海拔1600米的云海深处开设了一家“无声咖啡厅”，5名咖啡师全部是听障人士。这不仅是公益行为，更是品牌价值的深度植入。当无数景区把公益做成一次性公关事件，莽山将其做成了可持续的公益就业平台和商业模型——听障咖啡师获得平等就业，游客获得独特的情绪体验，景区获得差异化的品牌标签。这是一场三赢的价值创新，其起点是愿意把“大爱”当作产品来打磨。在流量运营上，莽山同样构建了“唯一”的竞争壁垒。当大多数景区采用“采购思维”购买流量时，莽山采用“设计思维”让流量“长”出来。其“酷玩云端”轻游乐产品的选址，流量团队与工程队同期进场，飞拉达的选址勘测三个月，只为找到那个角度：游客攀爬时刚好能与标志性景点“金鞭神柱”同框。这不是在做游乐设施，这是在设计“社交货币生产线”。2025年，莽山自营直播间GMV达821万元，同比增长135%，没花一分钱投流——“我们不买流量，我们设计流量”成为其独特的竞争宣言。产品体系化：复星旅文的三大产品线布局。大型文旅集团的差异化竞争，需要超越单点项目的创新，构建系统化的产品矩阵。复星旅文2025年发布的三大核心产品线——超级度假村、超级度假区、超级文旅Mall，展示了体系化竞争的思路。其中最具启发性的是其对“同质化痛点”的精准回应。针对国内度假区“酒店与景区经营割裂”的普遍问题，复星旅文提出在度假区内植入“地中海·邻境”场景，将原本缺失的地方特色和文化元素融入产品。以丽江项目为例，通过融入纳西族文化，今年营收增长了60%。“中国地域广阔，每个区域都有自己的文化特色。通过深入挖掘当地文化，每个项目形成独特IP和体验，一旦完成布局，其他竞争者很难复制或超越。”这表明，差异化不是孤立的创意火花，而是可复制、可规模化的系统能力。

The "First" Compound Interest: Define the track rather than follow the track. In today's era where cultural tourism products are increasingly homogenized, "mediocrity is the greatest cost, while innovation has the lowest marginal cost." The practice of Hunan Mangshan Wuzhi Peak provides a powerful illustration for this assertion. While other mountain scenic spots across the country are still competing on "how long the ropeway is and how many steps there are", Mangshan invested over 1 billion yuan in building a "full-accessible mountain system" - an 8-kilometer cloud-intersecting suspension bridge, the longest single-line sightseeing cable car of 3.7 kilometers, and 3 mountain vertical elevators, allowing wheelchairs to move freely at an altitude of 1,600 meters. This decision was almost incomprehensible at the time, but five years later, the silver-haired economy became a national strategy, and "accessibility" became a standard for mountain scenic spots. Mangshan has already served 400,000 elderly tourists and 52,000 disabled people, and has been awarded the title of "the first accessible mountain-themed tourist attraction in China". Chairman of Mangshan, Zhao Dong, summed it up thoughtfully: "If what we do today can be done by others three years later, then we have already lost." This is precisely the "First" Compound Interest: When you define the rules, you will always be one step ahead of others. The product innovation of Mangshan follows the "First Principle": not the first to install elevators, but the first to take "human rights" as the origin of the product. Its accessibility facilities are not only functional supply, but also carry the value proposition of "equal viewing rights for all people". When a severely disabled tourist makes a "V" sign on the 1,600-meter suspension bridge with the camera, product innovation has completed the leap from function to emotion.

The "Unique" Barrier: Build an uncopyable cognitive moat. If "First" is the positioning in the time window, then "Unique" is the exploration of the cognitive moat. The uniqueness of Mangshan Wuzhi Peak lies in that it can always turn a topic that seems accessible to everyone into "the only one". In September 2025, Mangshan opened a "silent café" at the cloud sea at an altitude of 1,600 meters, with all 5 coffee makers being deaf people. This is not only a public welfare act, but also a deep implantation of brand value. When countless scenic spots turn public welfare into a one-time public relations event, Mangshan turned it into a sustainable public welfare employment platform and business model - deaf coffee makers gained equal employment, tourists gained unique emotional experiences, and the scenic spot gained differentiated brand labels. This is a triple-win value innovation, and its starting point is the willingness to treat "great love" as a product to polish. In terms of traffic operation, Mangshan has also built "Unique" competitive barriers. When most scenic spots adopt the "purchase thinking" to purchase traffic, Mangshan adopts the "design thinking" to make traffic "grow". The location selection of its "Cool Play Cloud" light entertainment products, the traffic team and the engineering team entered simultaneously, the location survey for the flying rapids was three months long, just to find that angle: when tourists climb, they can frame the iconic scenic spot "Golden Pillar" together. This is not building a recreational facility, but designing a "social currency production line". In 2025, the GMV of Mangshan's self-operated live streaming room reached 8.21 million yuan, a year-on-year increase of 135%, without spending a penny on traffic - "We don't buy traffic, we design traffic" has become its unique competitive declaration.

Product Systematization: The three core product lines of Fosun Travel & Leisure. The differentiated competition of large-scale cultural tourism groups requires innovation beyond single-point projects and the construction of a systematic product matrix. Fosun Travel & Leisure released its three core product lines in 2025 - Super Resort, Super Resort Area, and Super Cultural Mall, demonstrating the thinking of systematic competition. The most inspiring aspect is its precise response to the common problem of "separation of hotel and scenic area operation" in domestic resort areas. Fosun Travel & Leisure proposed implanting the "Mediterranean·Neighborhood" scene within the resort area, integrating the missing local characteristics and cultural elements into the product. Take the Lijiang project as an example. By integrating Naxi ethnic culture, the revenue has increased by 60% this year. The CEO of Fosun Travel & Leisure, General Officer Bao, said: "China has a vast territory and each region has its own cultural characteristics. By deeply exploring the local culture, each project forms a unique IP and experience. Once the layout is completed, other competitors find it difficult to replicate or surpass it." This indicates that differentiation is not an isolated creative spark, but a replicable and scalable system capability.

四、体验升维 | 从功能供给到情感连接“不用爬的山”：心智标签的占领。在信息过载的时代，消费者心智对品牌的容纳极其有限。文旅项目差异化的终极目标，是在消费者心智中占据一个独特的位置——用一个词、一句话、一个场景，完成对品牌核心价值的定义。莽山五指峰用“一座不用爬的山”这一心智标签，完成了对山岳型景区认知框架的重构。这一标签看似简单，实则凝聚了从产品设计到传播策略的系统性思考：无障碍设施是物理基础，“不用爬”是功能承诺，而“带爸妈游莽山”成为韩国社交媒体的“孝心界爱马仕”，则是情感价值的溢出。当一座山不再是挑战的对象，而成为亲情表达的载体，它便在消费者心智中从“景点”升维为“意义空间”。情绪价值：从“看山”到“玩山”再到“成为谁”。莽山将产品逻辑的演进概括为三个阶段：1.0卖风景，2.0卖场景，3.0卖情景。风景是天赐的资源，场景是可进入的空间，而情景则是“游客在这里感受到了什么”“游客在这里成为了谁”。这一划分精准揭示了体验升维的路径。贵州文旅的转型同样印证了这一逻辑。从“村超”“村BA”的全民狂欢激活地域活力，到“山系生活”新范式吸引年轻群体，贵州正从“景点打卡地”转型为“体验目的地”。“悠山美地”将健身概念与山地资源结合，让九龙山、南岳山这些“老景致”变身户外爱好者追捧的“新地标”；“归岚调香”将正安白茶的清新、赤水竹林的温润装入香水瓶，让游客能将“贵州的味道”带回家。这些实践的共同点在于：它们销售的不是风景，而是情感连接和文化记忆。服务的信仰化：从成本项到品牌护城河。在体验经济中，服务不再是需要压缩的成本项，而是最核心的产品组成部分和最坚固的品牌护城河。河南文旅的经验表明，“服务就是最好的营销”——在产品同质化日益严重的今天，唯有发自内心、做到极致的服务，才能创造真正的差异化。老君山的“十年欠条”和“一元午餐”看似是“亏本买卖”，实则是最高明的情感投资和诚信宣言。它们用极大的诚意打破了游客对景区“宰客”的刻板印象，收获了社交媒体上的滔天好评和长期的品牌信任。这种“服务信仰”将“流量”变为“留量”，最终成就了长青的品牌。莽山的“无声咖啡厅”则是服务创新的另一种形态。它不仅是设施层面的无障碍，更是社会参与层面的无障碍——让听障青年在海拔1600米的云海之上，成为被游客争相合影的“明星咖啡师”。当服务承载了尊严、平等与社会连接，它便超越了功能供给，成为品牌价值的活态载体。

"Mountains That Don't Need Climbing": The Occupation of Mental Labels. In the era of information overload, consumers' minds have extremely limited capacity to accommodate brands. The ultimate goal of differentiated tourism projects is to occupy a unique position in consumers' minds - using a word, a sentence, or a scene to define the core value of the brand. Mengshan's Five-Finger Peak uses the mental label "a mountain that doesn't need climbing" to restructure the cognitive framework of mountain-type scenic areas. This label may seem simple, but it actually embodies systematic thinking from product design to communication strategies: accessibility facilities are the physical foundation, "not needing to climb" is the functional commitment, and "taking parents to Mengshan for a trip" has become the "sacred Hermes" of Korean social media, which is the overflow of emotional value. When a mountain is no longer an object of challenge but becomes a carrier of family affection, it ascends from being a "tourist attraction" to a "meaningful space" in consumers' minds.

Emotional Value: From "Seeing the Mountain" to "Playing the Mountain" to "Who You Become". Mengshan summarizes the evolution of product logic into three stages: 1.0 selling scenery, 2.0 selling scenes, 3.0 selling scenarios. Scenery is a gift from nature, scenes are accessible spaces, and scenarios are "what tourists felt here" and "what tourists became here". This division precisely reveals the path of experience expansion. The transformation of Guizhou's tourism is also in line with this logic. From the mass celebration of "Village Super" and "Village Basketball" to activating regional vitality and attracting young groups with the new paradigm of "mountain lifestyle", Guizhou is transforming from a "tourist destination" to an "experience destination". "Youshan Meidi" combines the fitness concept with mountain resources, transforming the "old scenery" of Jiulong Mountain and Nanyue Mountain into "new landmarks" favored by outdoor enthusiasts; "Guilan Aromatherapy" packs the freshness of Zheng'an White Tea and the warmth of Chishui Bamboo Forest into perfume bottles, allowing tourists to take "the taste of Guizhou" home. The common point of these practices is that they do not sell scenery, but rather emotional connection and cultural memory.

Belief in Service: From Cost Items to Brand Fortress. In the experience economy, service is no longer a cost item that needs to be compressed, but the most core product component and the most solid brand fortress. The experience of Henan's tourism shows that "service is the best marketing" - in today's increasingly homogenized products, only heartfelt and ultimate service can create true differentiation. The "ten-year debt note" and "one-yuan lunch" of Laojun Mountain seem like "loss-making business", but in fact, they are the most ingenious emotional investment and honesty declaration. They use great sincerity to break the stereotype of tourists' perception of "cheating" in the scenic area, receiving overwhelming praise on social media and long-term brand trust. This "service belief" turns "traffic" into "retention", ultimately achieving a long-lasting brand. Mengshan's "silent café" is another form of service innovation. It is not only an accessibility at the facility level, but also accessibility at the social participation level - allowing deaf youth to become the "star baristas" that tourists争相 take photos with at an altitude of 1600 meters in the cloud sea. When service carries dignity， equality， and social connection， it transcends functional supply and becomes an active carrier of brand value.

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