Measuring Narrative Engagement

“Another important aspect of narrative engagement is flow [28].”

“During reading, emotions continually update mental models, enhancing engagement and empathy (Bal & Veltkamp, 2013; Busselle & Bilandzic, 2009; Mar & Oatley, 2008; Mar et al., 2011; Miall & Kuiken, 2002; van Krieken, 2018).”

“Its theoretical foundation is drawn from Narrative Engagement Theory (Busselle & Bilandzic, 2009), which helps to explain why audiences choose to watch speci fi c fi lms and how these fi lms trigger their emotional and psychological investment.”

“…of identification includes awareness of a character’s perspective, interpretation of events and motives in relation to events and other characters; the ones who identify with the character can understand and relive the character’s emotions, and feel emotions for them (Busselle and Bilandzic 2009).”

“After completing all trials, participants filled out a set of post-experiment questionnaires, including the Raw NASA-TLX [24], Igroup Presence Questionnaire (IPQ) [55], TAM [64], training sys-tem evaluation questionnaire [10], haptic feedback questionnaire 2, and narrative-related questionnaire.”

“In addition, we will assess the story’s quality through the narrative engagement scale [49], which includes constructs such as cognitive perspective taking, empathy, sympathy, narrative presence, narrative involvement, loss of time, loss of self, ease of cognitive access, distraction, and narrative…”

“The Narrative Engagement Scale (NES) [8] aimed to assess the direct use case of reading a story with GenX .”

“Emotional engagement refers to users’ emotional involve - ment in VR theater, including empathy, emotional connection, and affective responses (Busselle and Bilandzic 2009).”

“Rather than carrying over full original scales, we adapted individual items from the Narrative Engagement Scale [17], the Transportation Scale–Short Form [18], MEEGA+ [19], and IMI [20] to the IF context, complemented by theory-guided items for story-content coherence grounded in the…”

“Narrative engagement depends on emotional immersion, aesthetic appreciation, and empathic alignment with characters through identification and perspective-taking (Busselle & Bilandzic, 2009; Mar & Oatley, 2008).”

“Specifically, “well-crafted narratives increase users’ perceived value of information, effectively engaging them” (Busselle & Bilandzic, 2009 ), and contribute to better functional experiences and emotional satisfaction during use.”

“It entails the viewer leaving the real world and entering the story created by the video (i.e., the mediated environment) [ 41 ].”

“Narrative Believability: Believability is a multidimensional property capturing whether stories feel authentic, coherent, and logically consistent [17, 35, 39].”

“…định cách thức kể chuyện tác động tích cực đến trải nghiệm dòng chảy hay khi video có cấu trúc kể chuyện mạch lạc sẽ làm gia tăng độ vận chuyển tường thuật, thúc đẩy trạng thái dòng chảy, điều này phù hợp với lý thuyết vận chuyển tường thuật, đồng thuận với phát hiện của Busselle & Bilandzic (2009)”

“Además, Busselle & Bilandzic (2009) argumentan que la audiencia puede experimentar gratificación emocional a través de la identificación con los personajes, permitiéndoles vivir experiencias vicarias.”

“Kitchen, porch, garden scenes Uses familiar settings and symbols to evoke pathos and ethos (Foss); enhances cultural congruence (NEF) inspire behavior change (Busselle & Bilandzic, 2009; Miller-Day & Hecht, 2013; Upshaw et al., 2023).”

“…high levels of narrative engagement and identification with characters reduce counterarguments, creating minor to medium but meaningful effects on intentions and behavior (Busselle & Bilandzic, 2008, 2009; Braddock & Dillard, 2016; Hinyard & Kreuter, 2007; Moyer-Gusé, 2008; Snyder et al., 2004).”

“It includes empathy for characters, feelings of suspense, excitement, or sadness, and the broader emotional resonance created by the story (Cohen, 2001; Busselle & Bilandzic, 2009).”

“…Based on Table 6, each publication uses at least an instrument of evaluation, such as System Usability Scale (SUS) [29], short form of User Engagement Scale (UES-SF) [30], Narrative Engagement Scale (NES) [31], MEEGA+ [32], Game Usability Questionnaire [33], and Igroup Presence Questionnaire [34].”

“Emotional Engagement = Emphasis on the user’s emotional engagement with the space and narrative content is one of the key components of narrative engagement Busselle et al. (2009).”

“The first questionnaire focused on immersion and narrative engagement, modeled after Issaev et al. [4] and the Narrative Engagement Scale [7].”

“Emotional engagement was assessed through three Likert-style (1 = “strongly disagree,” 7 = “strongly agree”) items on a 7-point scale also adapted from Busselle and Bilandzic (2009).”

“Quantitative assessment used questionnaires with 13 questions rated on 5-point Likert scales, selected from the Narrative Engagement Scale [4] and the Positive and Negative Affect Schedule (PANAS) Scale [17].”

“The concept of narrative transportation [19], which refers to the immersion of an individual into a story and the ability to envision themselves within events, allows for the mental simulation of the alternative model introduced in the narrative [20].”

“In addition, we utilized several subscales of the Narrative Engagement Scale [41], measuring Narrative Understanding Each items was presented with a 5-point Likert-scale (1 - ”very slightly or not at all”, 2 - ”a little”, 3 - ”moderately”, 4 - ”quite a bit”, 5 - ”extremly”).”

“Characteristics associated with transportation include emotional involvement, attentional focus, a lost sense of time, detachment from the outside, and feelings of narrative presence (Kuijpers et al., 2014; Busselle & Bilandzic, 2009; Green & Brock, 2000).”

“Indeed, narrative absorption is an elevated sense of attention, “transportation” [23] into the fictional world, “narra-tive engagement,” [12] “identification” [56] and activated mental imagery [35].”

“Narrative engagement (RQ3) with the digital game was examined via the validated narrative engagement scale (Busselle and Bilandzic, 2009).”

“Scales and References: PXI, Player Experience Inventory, [45]; NES, Narrative Engagement Scale, [46].”

“Through this process, individuals can identify with and empathize with the storyteller’s expe - riences of racism (Busselle & Bilandzic, 2009), fostering a sense of authenticity in the conveyed meaning (Murphy et al., 2013 ).”

“The researchers adapted the questions from various related research papers namely Cohen (2001), Busselle and Bilandzic (2009), Tal-Or and Cohen (2010), Hosotani and Mastsumuru (2011), and Trujillo et al. (2015) to make the data more reliable and to strengthen its credibility.”

“After viewing each video, participants were asked to complete: 1) the Narrative Engagement Scale [6], which assessed narrative understanding, cognitive perspective-taking, narrative engagement, and emotional engagement, using a 7-point Likert scale ranging from 1 (strongly disagree) to 7 (strongly…”

“Participant self-reported attention was measured using seven items that comprise the attentional focus subscale of the Narrative Engagement Scale (Busselle et al., 2009).”

“Therefore, ‘a negative component of narrative engagement is distraction—the presence of thoughts that are unrelated to the narrative’ [14].”

“In media and communication studies, Busselle and Bilandzic (2009) usefully identified several causes of distraction in narrative engagement.”

“…más importantes en la actualidad dentro del campo de la comunicación para la salud, se enfoca en cómo se puede incrementar o mejorar la experiencia de la persuasión narrativa a través de mecanismos como el transporte narrativo y la identificación con los personajes (Busselle & Bilandzic, 2009).”

“Busselle and Bilandzic (2009) conducted a series of studies to narrow down the salient aspects of reader engagement and created a general media engagement scale.”

“Busselle and Bilandzic (2009) research also confirmed such narrative presence.”

“Они восстанавливают эмоциональные и нарративные связи, обнаруживая в записях, следах, противостояниях скрытые, полюса притяжения, зоны интенсивности, а также возвращают социальные связи и жизненную энергию (Busselle & Bilandzic, 2009).”

“Narrative engagement, often connected to transportation, is the process of becoming psychologically involved in a story or narrative (Busselle & Bilandzic, 2009; Green & Brock, 2000).”

“…various player models in relation to video games, and with the Immersive Tendency Questionnaire (ITQ) in VR, that relates a user’s immersive tendency with their sense of presence in a VR world (Green and Brock 2000) (Busselle and Bilandzic 2009) (Bartle and Philosophy Documentation Center 2007).”

“According to Busselle and Bilandzic (2009), narrative understanding requires a viewer to place themself within the mental model of the story.”

“As a construct, transportation into the narrative was measured in several studies and showed consistent validity and reliability (Busselle & Bilandzic, 2009; Green & Brock, 2000).”

“To measure the overall quality of the system output, I will use a survey tool designed to measure narrative engagement (Busselle and Bilandzic 2009).”

“From these items and from the concept of Engagement or narrative involvement, we selected from the scale established by Busselle and Bilandzic[1], those in line with the research objectives collected above.”

“En effet, pour Hoopen (2010), la dimension affective de la transportation représente en fait l’engagement émotionnel de l’individu dans l’histoire racontée et, bien que son échelle de mesure de la transportation soit inspirée de celle de Green et Brock (2000) et de celle de Busselle et Bilandzic (2009), cet intitulé d…”

“Engagement researchers indicate that the engagement level of people in a narrative has an influence on people’s subsequent storyrelated attitudes and beliefs[6], which helps psychologists understand people’s social behaviours and personal experience.”

“For example, Busselle and Bilandzic (2009) found that narrative engagement derived from narrative comprehension, attention, presence, and emotional links to characters.”

“…and into th e world depicted in the fictional story, as captured in the expression to be “lost in the book” (Nell, 1988; Gerrig, 2018), is measured by validated scales such as the Narrative Engagement Scale (Busselle and Bilandzic, 2009) and the Story-World Absorption Scale (Kuijpers et al., 2014).”

“Subjective (ie, experiential) attributes describe the consumption experience, such as the appeal of a narrative ( Busselle & Bilandzic, 2009 ) or visual presentation ( Wolfe, 1992 ).”

“Additionally, longer texts generally perform better in both dimensions, whereas shorter texts show lower overall scores, likely due to limitations in content depth and development.”

“Narrative Engagement To control for narrative engagement, the 12-item scale for narrative engagement developed by Busselle and Bilandzic (2009) was used (Cronbach’s α = .85).”

“Narrative Engagement To control for narrative engagement, the 12-item scale for narrative engagement developed by Busselle and Bilandzic (2009) was used (Cronbach’s α = .”

“Indeed, prior research suggests emotionally engaging stimuli contribute toward greater mental model complexity (Busselle & Bilandzic, 2009), especially when the stimulus is negative or threatening (Shah et al., 2004).”

“…dieser Ergebnisse kann angenommen werden, dass eine (zu) starke Fokussierung auf statistische Evidenzen die Verständlichkeit eines Artikels und das Lesevergnügen der Rezipientinnen und Rezipienten einschränkt bzw. diese nicht fördert (Busselle & Bilandzic, 2009; Link, Possler, & Möhring, 2017).”