沉浸式文创能给地域文化开辟一条由知识传播转向参与体验的路径；但文化资源真正嵌入具体叙事、游戏机制，学界还缺少微观层面的探讨，本文把大创项目“潇湘问道——国学众创空间”产出的《火宫殿的密语》《洞庭不渡》当作案例，结合已完成的实践考察，梳理湖湘历史、民俗、文学、精神文化向剧本杀内容实现转化的完整过程，研究发现，地域文化要进入沉浸式文创需经历文化资源筛选、叙事转译、机制转译、参与体验几大环节，不同文化资源会呈现出不一样的转译特征；《火宫殿的密语》重在将历史、民俗资源做机制化处理，《洞庭不渡》则借文学意象与仪式构筑起相应情境，文创实操阶段会遭遇文化简化、考据成本偏高、文化表达难以匹配游戏体验的现实困境；面对这些问题，本文提出构建文化考据联动剧情改编的协同审核机制，建好模块化文化资源库，加强青年创作力量的优化思路，可为地域文化沉浸式文创提供可参照的实践依据。

Immersive cultural creativity offers regional culture a pathway from knowledge dissemination to participatory experience; however, the academic community has paid insufficient attention to the micro-level issue of how cultural resources are truly embedded into specific narratives and game mechanics. Taking The Secret of Fire Palace and Dongting Does Not Ferry—two original script murder games developed under the university innovation project “Xiaoxiang Quest: A Co-creation Space for Chinese Classics”—as case studies, and drawing on completed practical investigations, this paper traces the full transformation process of Huxiang history, folklore, literature, and spiritual culture into script murder game content. The study finds that regional culture must undergo several key stages—cultural resource screening, narrative translation, mechanism translation, and participatory experience—to enter immersive cultural and creative products, with different cultural resources exhibiting distinct translation characteristics. The Secret of Fire Palace focuses on the mechanism-oriented treatment of historical and folklore resources, while Dongting Does Not Ferry constructs corresponding atmospheres through literary imagery and ritual practices. In the practical implementation stage, cultural creativity faces realistic difficulties such as cultural simplification, high research and verification costs, and the mismatch between cultural expression and game experience. To address these issues, this paper proposes optimization strategies including establishing a collaborative review mechanism that combines cultural textual research with plot adaptation, building a modular cultural resource database, and strengthening the creative force of young practitioners—which together can provide a referential practical basis for regional cultural immersive creative products.