Measuring Narrative Engagement

“…of narratives to highlight similar others (Slater & Rouner, 2002), encourage cognitive and emotional engagement with the story and its characters (Busselle & Bilandzic, 2009; Cohen, 2001; Green & Brock, 2000), as well as increase attention and reduce counterarguing (Moyer-Gusé & Nabi, 2010).”

“…analyses was supported by our findings that different measures of engagement were related to different endogenous variables in our model, which is consistent with previous studies exploring different domains of engagement (Busselle & Bilandzic, 2009; De Graaf et al., 2009; Williams et al., 2010).”

“Busselle and Bilandzic (2009) argued that “identification is purported to be the adopting of the perspective and emotions of a character” (p. 338).”

“Transportation is a distinct mental process integrating attention (or loss of access to real-world information), affect (emotional reactions), and ability to form mental imagery (Busselle & Bilandzic, 2009; Green & Brock, 2000).”

“The consequential transformations in readers’ relational lives and social beliefs have also been found with adults (e.g., Bal, Butterman, & Bakker, 2011; Bal & Veltkamp, 2013; Busselle & Bilandzic, 2009; Mar & Oatley, 2008).”

“There is some debate about the exact nature of specific mediators and about which ones are necessary versus sufficient to obtain effects (Busselle & Bilandzic, 2009; Green & Brock, 2000; Kreuter et al., 2007; Larkey & Hecht, 2010; Miller-Day & Hecht, 2013).”

“…greater enjoyment, more intense self-perceived physical sensations and greater induction of positive and negative emotions, supports previous studies of identification and speaks of the relevance of this factor in the consumption of audiovisual fiction (Busselle and Bilandzic, 2009; Igartua, 2010).”

“Así mismo, el transporte narrativo es un proceso psicológico que implica un estado de enganche o inmersión con un producto narrativo (Busselle & Bilandzic, 2009; Green & Brock, 2000).”

“This engagement is often studied as the two related but distinct concepts of narrative transportation and character identification (Busselle & Bilandzic, 2009; Tal-Or & Cohen, 2015).”

“These include “narrative engagement” in film [23], “absorption” [24] and “transportation” in textual narratives [3,25,26], and “immersion” [27] and “presence” [28] in video games and virtual reality.”

“Therefore, the VR prototype explored translating their material experience to a larger-than-life scale, and linking material experiences to narrative engagement, additionally drawing from narrative engagement frameworks by [14, 20]).”

“” Scholars in the fi eld who draw on Gerrig ’ s account speci fi cally make a point of suggesting that narrative transportation leads to “ losing awareness of one ’ s surrounding ” (Busselle and Bilandzic 2009, 325, italics in original).”

“Beyond these persuasion-related outcomes, identification has also been found to correlate with enjoyment (e.g., Busselle & Bilandzic, 2009).”

“Previous research has supported the four-dimension structure of the narrative engagement scale (e.g., Busselle & Bilandzic, 2009; Hamby, Shawver, & Moreau, 2020; Quintero Johnson & Sangalang, 2017; Sukalla et al., 2016; Van Leeuwen et al., 2017).”

“It seems reasonable to expect that exposure to political movies could transport audiences into the narrative through vivid imagery and “affect subsequent story-related attitudes and beliefs” (Busselle & Bilandzic, 2009, p. 321).”

“Busselle and Bilandzic [2] found a connection between transportation and narrative understanding as well as enjoyment.”

“For instance, there exist several scales for story immersion including the Narrative Engagement Scale (Busselle & Bilandzic, 2009) and the Narrative Transportation Scale (Green & Brock, 2000).”

“In 2009, Rick Busselle and Helena Bilandzic [7] presented twelve questions that measured four aspects of engagement for passive experiences: narrative understanding; attentional focus; narrative presence; and emotional engagement.”

“…have used the propensity for being engaged (transportability, narrative engageability) as a proxy for repeated immersed experiences and found the trait to predict narrative persuasion (e.g., Mazzocco, Green, Sasota, & Jones, 2010) and, to some extent, cultivation (Busselle & Bilandzic, 2008).”

“The allocation of attention to a text is usually only noticed when attention is disrupted, for instance by inconsistencies in the text or by activity going on around them (Busselle & Bilandzic, 2009).”

“This study also showed that the experiment for measuring stimuli’s perceived attractiveness produced more reliable outcomes since there were several previous studies used as references, most notably study by McCloud [15, 17], Konijn and Hoorn [23]; Jones [18]; Busselle and Bilandzic [24]; and Natsume [34].”

“Consistent with Busselle and Bilandzic [3] and Zhu et al. [32], a 7-point Likert scale was utilized to gauge participants’ engagement and comprehension during story creation.”

“Other metrics commonly used by researchers include narrative engagement [22], empathy [111], and happiness [69].”

“, 2022), which is closely related to engagement (Busselle and Bilandzic, 2009; Dmochowski et al., 2012) using FC.”

“Competing with a number of close conceptual relatives such as narrative engagement (Busselle and Bilandzic, 2009), flow (Thissen et al.”

“Encompassed in narrative absorption constructs are higher-order cognitive processes such as imaginative engagement, emotional engagement, deictic shift, and focused attention (see Narrative Engagement, Busselle & Bilandzic, 2009; Transportation, Green & Brock, 2000; Story World Absorption, Kuijpers et al., 2014).”

“Further, we assume that viewing in an engaged or transported mode (Busselle & Bilandzic, 2009; Green & Brock, 2000) supports this process by allowing emotional responses and moral intuitions (for a more detailed account, see the Narrative Engageability as a Factor in Cultivation section).”

“One of the mechanisms through which narratives are hypothesized to influence attitudes and behaviors is through emotional involvement with narrative characters (Busselle & Bilandzic, 2009; Green, 2006; Slater & Rouner, 2002).”

“Factor (a) (narrative) concerns the variables that reception studies have largely considered to be meaningful in describing the user experience’s of audiovisual narratives: engagement [1], presence [2], perceived realism [3], and identification with characters [4].”

“On the other hand, narrative transportation is also a psychological process that implies a state of engagement or immersion with a narrative product (Busselle & Bilandzic, 2009; Green & Brock, 2000).”

“…Bilandzic, 2008; 米田・仁平・楠 見，2005）。そうした読者の体験のなかでも代表 的なものに，物語の世界をさながら現実の世界の ように生き生きと感ずるといった体験が挙げられ る。こうした体験は「物語への没入 （immersion into narratives）」と呼ばれ，物語への注意の集中， 作品世界の鮮明なイメージ，登場人物への共感， 物語内容や登場人物からの感情的影響，物語への 現実感といった，さまざまな要素から構成される 1） 本研究は，第1著者が京都大学大学院教育学研究科 に提出した博士論文の一部を基に，新たな調査に…”

“This aligns with previous research [16, 18, 86, 89] , which suggested that first-person narratives can effectively enhance the aesthetic appeal of interactive systems.”

“…SWAS lacks a dimension about participants’ ease of understanding the story, and so we added a narrative understanding scale from the NES (e.g., “I could easily follow the thread of the story”), since understanding is a prerequisite for immersion (Busselle and Bilandzic 2009; Hartung et al. 2016).”

“As narrative engagement is based on emotional involvement and relationships with characters (Busselle & Bilandzic, 2009) that constitute the plot with their actions (Eder, 2010), narrative engagement is not necessarily enacted via an actual Self but rather possible ones (Martínez, 2014).”

“Moreover, the greater the element of realism, or the extent to which the story is to be perceived to be like the real world, the greater the likelihood that the audience will identify with the characters and events [24].”

“This leads the reader to experience the world from the perspective of a character in the narrative (Buselle & Bilandzic, 2009).”

“Hence, despite being a magical world lack of suspension of disbelief could be the issue [5, 6].”

“Participants completed the Emotional Engagement subscale of the Narrative Engagement Scale (Busselle & Bilandzic, 2009).”

“At the level of narrative engagement (“co-narration”), boundary-work refers to establishment of a general sense of group membership that delineates common beliefs, values, and attitudes (Busselle & Bilandzic, 2009).”

“According to the theory of persuasion, a retweeter can apply logos, ethos, or pathos when composing or editing retweeted text (Busselle & Bilandzic, 2009).”

“Busselle and Bilandzic add the concept of narrative presence [6], which describes the feeling of being part of the story, and empathizing with the characters involved.”

“The questionnaire consisted of 12 Likert items from the User Engagement Scale, short form (UES-SF)[13], and 7 Likert items from the Narrative Engagement Scale [15].”

“Research has shown that an individual’s extent to which they become engaged, immersed and transported in each narrative affects the narrative’s ability to engage successive story-related attitudes and beliefs (Busselle & Bilandzic, 2009), leading to successful and meaningful donations.”

“This scale was developed by Busselle and Bilandzic (2009) to create a measure of transportation more appropriate for audiovisual narratives such as film or television.”

“…on 1 Media psychologists interested in the absorbing nature of entertainment narrative have successfully operationalized transportation in story worlds (Green & Brock, 2000) and engagement in narratives (Bussele & Bilandzic, 2009; see also Tan, Doicaru, Hakemulder, Balint, and Kuijpers, 2017).”

“Specifically, it explores engagement in audio narratives and its relation with enjoyment on the basis of the elements that, according to Busselle and Bilandzic (2009), it is theoretically composed of: identification with characters, perceived realism, presence and transportation.”

“Questions were designed to prompt the interviewee’s experience regarding their narrative understanding, emotional involvement, emotion-driven interaction and overall enjoyment based on the theory of narrative engagement [11].”

“Visual motion, stylized representation, and symbolic imagery embedded in animation facilitate deeper narrative comprehension and emotional resonance among audiences (Busselle & Bilandzic, 2021; Krämer & Winter, 2022).”

“In summary, the narrativity of digital micro-dramas promotes empathy and social understanding through narrative transportation and character identification (Busselle and Bilandzic, 2009; Green and Brock, 2000; Johnson, 2012; Laer et al., 2014; Mar and Oatley, 2008).”

“Additionally, future researchers should consider training future coders of accounts of use in immersive environments in using validated questionnaires for system (Jennett et al. 2008), narrative (Busselle and Bilandzic 2009), and agency (Bellotti et al. 2009).”

“Transportation was measured using the 12-item scale from Busselle and Bilandzic (2009), M = 4.29, SD = 0.95, α = 0.84.”

“This scale was adapted from the Narrative Engagement Scale [10], with a particular emphasis on the components of empathy and sympathy.”

“Previous studies have indicated that incorporating narratives into educational games sustains player motivation [15–17], and Virtual Worlds 2023 , 2 304 their persuasive power in behavior change is well known [18].”

“…each of the narratives and answering comprehension questions, we presented participants with a (7 question) measure of Narrative Engagement (NE) (Busselle & Bilandzic, 2009 ) which included questions like ‘I was mentally involved in this story while reading it’ and (reverse scored) ‘I had…”

“…differ, there is significant overlap in researchers’ discussions of transportation (Gerrig, 1993; Green & Brock, 2000), narrative engagement (Busselle & Bilandzic, 2009), story world absorption (Kuijpers et al., 2014), narrative absorption (Hakemulder et al., 2017), and aesthetic illusion…”

“Narrative engagement was assessed using 26 items that were a combination of narrative engagement items (Busselle & Bilandzic, 2009) and items adapted from Dal Cin et al. (2004) transportability scale2.”

“…immersion, while storytelling/narratives may produce its mental type associated with the narrative engagement (Green et al., 2008), which is comprised of transportation (Busselle & Bilandzic 2009) and various (parasocial) relationships with characters as key elements of narratives (Cohen 2004).”

“90) adapted from previous studies by Busselle and Bilandzic (2009) and Igartua (2010).”

“The narrative engagement scale measures the audience's experience of involvement in a narrative (Busselle & Bilandzic, 2009).”