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一、引言 | 文旅同質(zhì)化困境與品牌策劃的范式轉(zhuǎn)換

“十五五”時(shí)期臨近，中國文旅產(chǎn)業(yè)正經(jīng)歷一場深刻的結(jié)構(gòu)性變革。一方面，居民消費(fèi)升級催生了高品質(zhì)、多元化、創(chuàng)新化的文旅需求；另一方面，景區(qū)業(yè)態(tài)單一、體驗(yàn)同質(zhì)化、文化與商業(yè)割裂等問題日益凸顯。據(jù)統(tǒng)計(jì)，中國現(xiàn)有各類度假區(qū)超過6000個(gè)，但“度假區(qū)里缺乏優(yōu)質(zhì)酒店，景區(qū)與酒店經(jīng)營割裂”成為普遍現(xiàn)象。與此同時(shí)，全國古鎮(zhèn)類度假目的地2025年暑期整體業(yè)績下滑30%至40%，標(biāo)志著粗放式擴(kuò)張時(shí)代的終結(jié)。

在這一背景下，品牌策劃的使命正在發(fā)生根本性轉(zhuǎn)變。傳統(tǒng)的文旅品牌建設(shè)往往遵循“資源稟賦—產(chǎn)品組合—營銷推廣”的線性邏輯，將品牌視為既有資源的“名片”或“包裝”。然而，當(dāng)“山水甲天下”“文化底蘊(yùn)深厚”成為千篇一律的自我描述，當(dāng)玻璃棧道、網(wǎng)紅秋千淪為標(biāo)準(zhǔn)化配置，真正的差異化便不再源于“有什么”，而在于“意味著什么”——即品牌能否在消費(fèi)者心智中占據(jù)一個(gè)獨(dú)特的位置，能否讓游客“為一個(gè)好單品，趕赴一座城”。

二、文化轉(zhuǎn)譯 | 從“有什么”到“意味著什么”

文化不再是背景，而是敘事的內(nèi)核：在品牌策劃的視野中，文化不應(yīng)是景區(qū)的“背景板”或“裝飾物”，而應(yīng)成為驅(qū)動消費(fèi)者情感卷入的核心敘事資源。河南文旅的實(shí)踐為此提供了深刻啟示：河南擁有“伸手一摸就是春秋文化，兩腳一踏就是秦磚漢瓦”的厚重家底，但一度陷入“有說頭、沒看頭”的尷尬。其突破的關(guān)鍵，在于完成了一場“資源觀革命”——從“文物保護(hù)”的被動思維轉(zhuǎn)向“文化轉(zhuǎn)化”的主動進(jìn)攻，從“搬運(yùn)工”轉(zhuǎn)變?yōu)椤稗D(zhuǎn)譯者”。所謂“文化轉(zhuǎn)譯”，就是用現(xiàn)代的語言、體驗(yàn)的方式、情感的觸點(diǎn)，將古老文明的精神內(nèi)核翻譯給當(dāng)代消費(fèi)者。河南的成功項(xiàng)目無不遵循這一邏輯：萬歲山武俠城將整個(gè)景區(qū)視為“宏大片場”，游客從“旁觀者”變?yōu)椤熬謨?nèi)人”；河南博物院通過“考古盲盒”讓文物走出展柜、融入生活；殷墟博物館借助數(shù)字技術(shù)讓甲骨文“跳”進(jìn)現(xiàn)代生活。正如中國旅游協(xié)會會長段強(qiáng)所言，旅游正從“眼球經(jīng)濟(jì)”升維至“心靈經(jīng)濟(jì)”，而文化的轉(zhuǎn)譯能力正是實(shí)現(xiàn)這一升維的核心工具。在地文化的深度挖掘與IP活化：如果說河南的經(jīng)驗(yàn)側(cè)重于“歷史文化的當(dāng)代轉(zhuǎn)譯”，那么江蘇窯湖小鎮(zhèn)的實(shí)踐則展示了“在地文化的IP活化”路徑。窯湖小鎮(zhèn)位于宜興陽羨生態(tài)旅游度假區(qū)，依托當(dāng)?shù)刎S富的陶、竹、茶資源和“中國天然氧吧”的生態(tài)稟賦，并未止步于展示這些元素，而是將其轉(zhuǎn)化為可體驗(yàn)、可傳播的超級IP。其核心策略是“產(chǎn)品力即傳播力”。窯湖小鎮(zhèn)洞察到，年輕消費(fèi)群體不再將一個(gè)地方的“整體性”作為出行決策依據(jù)，而是愿意為某個(gè)獨(dú)具特性的“微場景”千里奔赴?；诖?，景區(qū)打造了“云上的小火車”“龍騰水秀煙花”“窯湖四季水世界”三大超級IP，并根據(jù)季節(jié)裂變出繁花專列、采茶專列等四季IP。春季推出的“繁花之境”超級流量場景，利用閑置資源創(chuàng)造高顏值打卡點(diǎn)，上線3個(gè)月實(shí)現(xiàn)全網(wǎng)曝光超2億次。這種“超級流量場景引流+完善的配套體驗(yàn)+互動演出增加溢價(jià)”的組合，打破了傳統(tǒng)古鎮(zhèn)的刻板印象，強(qiáng)化了樂園屬性與時(shí)尚感。更具啟示意義的是窯湖小鎮(zhèn)對“在地文化”的處理方式。宜興是紫砂礦原產(chǎn)地，窯湖小鎮(zhèn)并未簡單建造一個(gè)紫砂博物館，而是將“千年窯火”的精神內(nèi)核轉(zhuǎn)化為“開龍窯”“千年窯火頌風(fēng)華”等核心演藝IP，讓游客在沉浸式演出中感受陶都的文化脈動。這正是文化轉(zhuǎn)譯的精髓：不是展示“我們有什么”，而是讓游客體驗(yàn)“這意味著什么”。文化轉(zhuǎn)譯的微觀實(shí)踐：從“守寨人”到“東坡宴”。文化轉(zhuǎn)譯的能力不僅屬于大型文旅項(xiàng)目，也正在成為“小而美”市場主體的核心競爭力。貴州“趣游吧”旅行推出的“守寨人計(jì)劃”，深入深山尋找承載老手藝與民族記憶的“守寨人”，將他們的故事與技藝轉(zhuǎn)化為旅游產(chǎn)品的核心內(nèi)容。在這里，文化不再是博物館里的靜態(tài)展陳，而是活生生的人、鮮活的故事、可參與的日常。同樣值得關(guān)注的是杭州“裸心游”對江南文化的轉(zhuǎn)譯實(shí)踐。其開發(fā)的“東坡宴”從蘇東坡詩詞中挖掘食材、研發(fā)菜品，上菜順序暗合東坡人生歷程，餐桌美學(xué)圍繞西湖山水創(chuàng)作，并與藝術(shù)家合作將東坡形象制成文創(chuàng)伴手禮。創(chuàng)始人俞霞玲將企業(yè)的核心能力定義為“持續(xù)的審美創(chuàng)造力、深刻的文化解讀能力”——這正是文化轉(zhuǎn)譯能力的專業(yè)化表達(dá)。

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、產(chǎn)品創(chuàng)新 | 要么第一，要么唯一“第一”的復(fù)利：定義賽道而非追隨賽道。在文旅產(chǎn)品日益同質(zhì)化的今天，“平庸是最大的成本，創(chuàng)新是最低的邊際成本”。湖南莽山五指峰的實(shí)踐為這一論斷提供了有力注腳。當(dāng)全國山岳景區(qū)還在比拼“索道多長、臺階多少”時(shí)，莽山投入超10億元建設(shè)“全程無障礙山岳系統(tǒng)”——8公里云間懸空棧道、單線最長3.7公里觀光纜車、3部山間垂直電梯，讓輪椅在海拔1600米的高空暢行無阻。這一決策在當(dāng)時(shí)幾乎無人理解，但五年后，銀發(fā)經(jīng)濟(jì)成為國家戰(zhàn)略，“無障礙”成為山岳景區(qū)標(biāo)配，莽山早已累計(jì)服務(wù)40萬人次老年游客、5.2萬人次殘障人士，并被授予“全國首家無障礙山岳型旅游景區(qū)”稱號。莽山董事長趙東的總結(jié)發(fā)人深?。骸叭绻覀兘裉熳龅氖?，三年后別人也能做，那我們就已經(jīng)輸了?！边@正是“第一”的復(fù)利：當(dāng)你定義了規(guī)則，你就永遠(yuǎn)比別人早跑一個(gè)身位。莽山的產(chǎn)品創(chuàng)新遵循“第一性邏輯”：不是第一個(gè)裝電梯的山，而是第一個(gè)把“人的權(quán)利”作為產(chǎn)品原點(diǎn)的山。其無障礙設(shè)施不僅是功能供給，更承載著“所有人的平等游覽權(quán)”的價(jià)值主張。當(dāng)一位重度肢殘游客在海拔1600米的棧道上對鏡頭比出“V”字，產(chǎn)品創(chuàng)新便完成了從功能到情感的躍遷。“唯一”的壁壘：構(gòu)建不可復(fù)制的認(rèn)知護(hù)城河。如果說“第一”是時(shí)間窗口的卡位，“唯一”就是認(rèn)知護(hù)城河的挖掘。莽山五指峰的獨(dú)到之處在于，它總能把一個(gè)看似所有人都能做的話題，變成“只此一家”的品牌資產(chǎn)。2025年9月，莽山在海拔1600米的云海深處開設(shè)了一家“無聲咖啡廳”，5名咖啡師全部是聽障人士。這不僅是公益行為，更是品牌價(jià)值的深度植入。當(dāng)無數(shù)景區(qū)把公益做成一次性公關(guān)事件，莽山將其做成了可持續(xù)的公益就業(yè)平臺和商業(yè)模型——聽障咖啡師獲得平等就業(yè)，游客獲得獨(dú)特的情緒體驗(yàn)，景區(qū)獲得差異化的品牌標(biāo)簽。這是一場三贏的價(jià)值創(chuàng)新，其起點(diǎn)是愿意把“大愛”當(dāng)作產(chǎn)品來打磨。在流量運(yùn)營上，莽山同樣構(gòu)建了“唯一”的競爭壁壘。當(dāng)大多數(shù)景區(qū)采用“采購思維”購買流量時(shí)，莽山采用“設(shè)計(jì)思維”讓流量“長”出來。其“酷玩云端”輕游樂產(chǎn)品的選址，流量團(tuán)隊(duì)與工程隊(duì)同期進(jìn)場，飛拉達(dá)的選址勘測三個(gè)月，只為找到那個(gè)角度：游客攀爬時(shí)剛好能與標(biāo)志性景點(diǎn)“金鞭神柱”同框。這不是在做游樂設(shè)施，這是在設(shè)計(jì)“社交貨幣生產(chǎn)線”。2025年，莽山自營直播間GMV達(dá)821萬元，同比增長135%，沒花一分錢投流——“我們不買流量，我們設(shè)計(jì)流量”成為其獨(dú)特的競爭宣言。產(chǎn)品體系化：復(fù)星旅文的三大產(chǎn)品線布局。大型文旅集團(tuán)的差異化競爭，需要超越單點(diǎn)項(xiàng)目的創(chuàng)新，構(gòu)建系統(tǒng)化的產(chǎn)品矩陣。復(fù)星旅文2025年發(fā)布的三大核心產(chǎn)品線——超級度假村、超級度假區(qū)、超級文旅Mall，展示了體系化競爭的思路。其中最具啟發(fā)性的是其對“同質(zhì)化痛點(diǎn)”的精準(zhǔn)回應(yīng)。針對國內(nèi)度假區(qū)“酒店與景區(qū)經(jīng)營割裂”的普遍問題，復(fù)星旅文提出在度假區(qū)內(nèi)植入“地中?！む従场眻鼍?，將原本缺失的地方特色和文化元素融入產(chǎn)品。以麗江項(xiàng)目為例，通過融入納西族文化，今年?duì)I收增長了60%?！爸袊赜驈V闊，每個(gè)區(qū)域都有自己的文化特色。通過深入挖掘當(dāng)?shù)匚幕?，每個(gè)項(xiàng)目形成獨(dú)特IP和體驗(yàn)，一旦完成布局，其他競爭者很難復(fù)制或超越?！边@表明，差異化不是孤立的創(chuàng)意火花，而是可復(fù)制、可規(guī)?；南到y(tǒng)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、體驗(yàn)升維 | 從功能供給到情感連接“不用爬的山”：心智標(biāo)簽的占領(lǐng)。在信息過載的時(shí)代，消費(fèi)者心智對品牌的容納極其有限。文旅項(xiàng)目差異化的終極目標(biāo)，是在消費(fèi)者心智中占據(jù)一個(gè)獨(dú)特的位置——用一個(gè)詞、一句話、一個(gè)場景，完成對品牌核心價(jià)值的定義。莽山五指峰用“一座不用爬的山”這一心智標(biāo)簽，完成了對山岳型景區(qū)認(rèn)知框架的重構(gòu)。這一標(biāo)簽看似簡單，實(shí)則凝聚了從產(chǎn)品設(shè)計(jì)到傳播策略的系統(tǒng)性思考：無障礙設(shè)施是物理基礎(chǔ)，“不用爬”是功能承諾，而“帶爸媽游莽山”成為韓國社交媒體的“孝心界愛馬仕”，則是情感價(jià)值的溢出。當(dāng)一座山不再是挑戰(zhàn)的對象，而成為親情表達(dá)的載體，它便在消費(fèi)者心智中從“景點(diǎn)”升維為“意義空間”。情緒價(jià)值：從“看山”到“玩山”再到“成為誰”。莽山將產(chǎn)品邏輯的演進(jìn)概括為三個(gè)階段：1.0賣風(fēng)景，2.0賣場景，3.0賣情景。風(fēng)景是天賜的資源，場景是可進(jìn)入的空間，而情景則是“游客在這里感受到了什么”“游客在這里成為了誰”。這一劃分精準(zhǔn)揭示了體驗(yàn)升維的路徑。貴州文旅的轉(zhuǎn)型同樣印證了這一邏輯。從“村超”“村BA”的全民狂歡激活地域活力，到“山系生活”新范式吸引年輕群體，貴州正從“景點(diǎn)打卡地”轉(zhuǎn)型為“體驗(yàn)?zāi)康牡亍??！坝粕矫赖亍睂⒔∩砀拍钆c山地資源結(jié)合，讓九龍山、南岳山這些“老景致”變身戶外愛好者追捧的“新地標(biāo)”；“歸嵐調(diào)香”將正安白茶的清新、赤水竹林的溫潤裝入香水瓶，讓游客能將“貴州的味道”帶回家。這些實(shí)踐的共同點(diǎn)在于：它們銷售的不是風(fēng)景，而是情感連接和文化記憶。服務(wù)的信仰化：從成本項(xiàng)到品牌護(hù)城河。在體驗(yàn)經(jīng)濟(jì)中，服務(wù)不再是需要壓縮的成本項(xiàng)，而是最核心的產(chǎn)品組成部分和最堅(jiān)固的品牌護(hù)城河。河南文旅的經(jīng)驗(yàn)表明，“服務(wù)就是最好的營銷”——在產(chǎn)品同質(zhì)化日益嚴(yán)重的今天，唯有發(fā)自內(nèi)心、做到極致的服務(wù)，才能創(chuàng)造真正的差異化。老君山的“十年欠條”和“一元午餐”看似是“虧本買賣”，實(shí)則是最高明的情感投資和誠信宣言。它們用極大的誠意打破了游客對景區(qū)“宰客”的刻板印象，收獲了社交媒體上的滔天好評和長期的品牌信任。這種“服務(wù)信仰”將“流量”變?yōu)椤傲袅俊?，最終成就了長青的品牌。莽山的“無聲咖啡廳”則是服務(wù)創(chuàng)新的另一種形態(tài)。它不僅是設(shè)施層面的無障礙，更是社會參與層面的無障礙——讓聽障青年在海拔1600米的云海之上，成為被游客爭相合影的“明星咖啡師”。當(dāng)服務(wù)承載了尊嚴(yán)、平等與社會連接，它便超越了功能供給，成為品牌價(jià)值的活態(tài)載體。

"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爭相 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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