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Humans enjoy works of fiction due to evolutionary psychological mechanisms
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Peer-reviewed literature demonstrates that human engagement with and enjoyment of fiction are enabled by evolved psychological mechanisms, such as theory of mind, pretense, and predictive processing frameworks.

Evidence for · 3
2024 · cited by 29
While the ubiquity and importance of narratives for human adaptation is widely recognized, there is no integrative framework for understanding the roles of narrative in human adaptation. Research has identified several cognitive and social functions of narratives that are conducive to well-being and adaptation as well as to coordinated social practices and enculturation. In this paper, we characterize the cognitive and social functions of narratives in terms of active inference, to support the claim that one of the main adaptive functions of narrative is to generate more useful (i.e., accurate, parsimonious) predictions for the individual, as well as to coordinate group action (over multiple timescales) through shared predictions about collective behavior. Active inference is a theory that depicts the fundamental tendency of living organisms to adapt by proactively inferring the causes of their sensations (including their own actions). We review narrative research on identity, event segmentation, episodic memory, future projections, storytelling practices, enculturation, and master narratives. We show how this research dovetails with the active inference framework and propose an account of the cognitive and social functions of narrative that emphasizes that narratives are <i>for the future</i>-even when they are focused on recollecting or recounting the past. Understanding narratives as cognitive and cultural tools for mutual prediction in social contexts can guide research on narrative in adaptive behavior and psychopathology, based on a parsimonious mechanistic model of some of the basic adaptive functions of narrative. We propose an approach to narrative that leverages the resources of active inference to account for some key features of narrative relevant to their evolutionary emergence and adaptive function. An active inference model of narrative can clarify some mechanisms at play in the use of narrative in adaptation and everyday functioning at both individual and group levels. This can guide novel research on narrative inquiry and inference as well as on potential maladaptive consequences of certain forms of narration. 2 Active inference What follows is a brief, non-technical overview of active inference. Recent applications of active inference to the study of group action in humans focus on the social construction of niches that provide cultural affordances, that is, culturally specific possibilities for action ( Ramstead et al., 2016 ; Constant et al., 2019 ; Veissière et al., 2020 ; Constant et al., 2022 ). This work suggests that the social-ecological niche—namely, the set of persons, material structures, institutions, norms, and culturally patterned practices that structure social life for a given group—participates in the error minimization process described above ( Constant et al., 2018 ). Dubourg and Baumard (2022) suggest that narrative fictions in entertainment technologies may be akin to ethological superstimuli ( Tinbergen, 1969 ; Barrett, 2010 ). This process can be cast in active inference terms to capture some of its individual and social dynamics ( Ciria et al., 2022 ). In the remainder of this paper, we unpack the argument that a key function of narratives in human adaptation and everyday functioning is their use as a tool for inference and predictions and for larger-scale group-level coordination, based on the active inference framework. Research suggests a moderate positive association between narrative meaning making and coherence with psychological well-being ( Adler et al., According to the NPH, human agents learn to provide reasons for their own and others’ actions over the course of their development, mostly by participating in a special kind of narrative practice, namely, folk-psychological narrative practices ( Hutto, 2012 ). Folk psychological narratives are stories that center on accounts of the mental states of other persons as explanations, causes or outcomes of action. Many (indeed, perhaps most) types or genres of stories (e.g., fairy tales and myths) that adults tell children over the span of development involve the mental states of characters involved. According to the NPH, ‘folk psychological stories’ or ‘person stories’ provide children with developmental anchors through which they acquire the ability to provide reasons for the way they (and others) acted. In the cultural practice of everyday storytelling, agents participate in narrating ordinary events and experiences of self and others. Participation in such practices leads agents to acquire the folk psychological skills necessary for more elaborate cognition through self-narration and self-presentation. These claims of the NPH are consonant with, and find support in, empirical work on narrative in developmental and social psychology. Of course, applying an active inference lens to master narratives does not contradict existing work, but supplements it, notably with regard to the defining principles noted above, while offering a complementary explanation for the basic underlying principles that explain the development of master narratives. 4 Future directions Our model also has implications for the overall direction of narrative research, with potential downstream consequences for several domains of psychology and the human sciences in general. Bruner’s (1986) distinction between the narrative and paradigmatic modes of knowing remains very influential. He insisted that intentionality is central to narrative, but that it plays virtually no role in paradigmatic knowing (i.e., how the physico-chemical world works). While Bruner suggested that the narrative mode of knowing pertains to aspects of the world (e.g., meaning and intentionality) that are completely distinct from those that pertain to the paradigmatic mode, a virtue of active inference modelling is that it allows us to reject the hardline distinction between the epistemological realms of human meaning and physical mechanism.
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2024 · cited by 6
Despite tremendous efforts in psychology, neuroscience and media and cultural studies, it is still something of a mystery why humans are attracted to fictional content that is horrifying, disgusting or otherwise aversive. While the psychological benefits of horror films, stories, video games, etc. has recently been demonstrated empirically, current theories emphasizing the negative and positive consequences of this engagement often contradict one another. Here, we suggest the predictive processing framework may provide a unifying account of horror content engagement that provides clear and testable hypotheses, and explains why a 'sweet spot' of fear and fun exists in horror entertainment. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'. ✉ Corresponding author. 18 12 2023 379 1895 20220425 20220425 18 12 2023 © 2023 The Authors. Published by the Royal Society under the terms of the Creative Commons Attribution License http://creativecommons.org/licenses/by/4.0/ , which permits unrestricted use, provided the original author and source are credited. Abstract Despite tremendous efforts in psychology, neuroscience and media and cultural studies, it is still something of a mystery why humans are attracted to fictional content that is horrifying, disgusting or otherwise aversive. While the psychological benefits of horror films, stories, video games, etc. Keywords: predictive processing, horror, valence, emotion regulation status released display-pdf yes is-olf no is-manuscript no is-preprint no is-journal-matter no is-scanned no is-retracted no Received 2023 Mar 27; Accepted 2023 Oct 8; Issue date 2024 Jan 29. 1. Introduction Despite tremendous efforts in the fields of psychology, neuroscience, media and cultural studies, it is still something of a mystery why humans are attracted to fictional content that is horrifying, disgusting or aversive. Some recent empirical research has identified clear psychological benefits in engaging in frightening play or frightening content (horror movies, horror video games, etc; e.g. [ 1 ]). However, it is puzzling that engagement and positive effects should arise from interactions with media specifically engineered to elicit negatively valenced affective states like fear or disgust. On the surface, these findings appear contradictory. In response to this, our goal in this paper is to provide an account of the cognitive and affective mechanisms at work beneath the surface of our engagements with frightening media. Our account of the cognitive and affective mechanisms behind engagement with frightening media draws on a unifying theory of affect and cognition known as Predictive Processing (PP). This attraction to the edge of our capabilities has been highlighted in experiments measuring looking times in human infants. It has been shown that infants prefer stimuli that are neither too simple nor too complex ([ 19 ]; cf. [ 27 – 29 ]; cf. [ 30 ], also see [ 31 ] for similar ideas). It is this drive to occupy areas of useful uncertainty that offer rich opportunities for learning that have been said to drive exploratory behaviour, underpin our inherent curiosity, and to lead us to engage in creative play [ 20 ]. We will argue that fictional horror can be attractive, in part, due to its ability to push us to that edge of our predictive capabilities. The main point of this section is to highlight that these effects are not accidental; horror films are a particular kind of affective technology . They are designed carefully, using age-old tropes, cliches, and very specific kinds of sound and imagery, to elicit exactly the kinds of responses that they do. Recent work suggests that we might enjoy horror films because they allow us to explore threatening situations, and so help us to transform our unpredictable reality into a more predictable one [ 32 , 33 ]. The incoming sensory signal is used to correct the predictions of this model when discrepancies with the environment lead to Loud, guttural and abrupt noises represent to humans, due to evolutionary and phenotypical prior expectations, highly reliable (precise) opportunities to gain life-sustaining information—information about the scene that helps us continue to enjoy the highly expected states associated with staying alive (see [ 50 ]). Humans are highly sensitive to finding relevant pathways for resolving current states of uncertainties, even if such pathways are purely fictional, counterfactual and even highly improbable. Moreover, uncertainties about threat hold primacy over other uncertainties due to the direct consequences of threats to survival and reproduction. Rather, it is that films (and other forms of fiction) can in that sense be thought of as epistemic opportunities for exploring and learning about possible worlds, and about what opportunities those worlds might offer for optimal slopes of prediction error minimization. Cross-cultural evidence shows that humans of all places use fictional storytelling as a method of communicating factual information [ 61 ]. It might sound concerning to hear that adults learn and incorporate facts presented in fictional stories into their general real-world knowledge, even when such facts are false. However, there is evidence that this type of learning is useful [ 59 ]. This is also why Romance is a relatively unpopular genre, despite all of us being members of a species that shares an evolutionary imperative to mate and reproduce. Finally, it is also worth noting that many horror movies are R rated, meaning that they fail to capture the family box office market and preclude many young fans who would otherwise be happily paying customers. Ethics This work did not require ethical approval from a human subject or animal welfare committee. Data accessibility This article has no additional data. Declaration of AI use We have not used AI-assisted technologies in creating this article.
2025 · cited by 0
We present a comprehensive analysis of the rise of fictions across human narratives, using large-scale datasets that collectively span over 65,000 works across various media (movies, literary works), cultures (over 30 countries, Western and non-Western), and time periods (2000 BCE to 2020 CE). We measured fictiveness - defined as the degree of departure from reality - across three narrative dimensions: protagonists, events, and settings. We used automatic annotations from large language models (LLMs) to systematically score fictiveness and ensured the robustness and validity of our measure, specifically by demonstrating predictable variations in fictiveness across different genres, in all media. Statistical analyses of the changes in fictiveness over time revealed a steady increase, culminating in the 20th and 21st centuries, across all narrative forms. Remarkably, this trend is also evident in our data spanning ancient times: fictiveness increased gradually in narratives dating back as far as 2000 BCE, with notable peaks of fictiveness during affluent periods such as the heights of the Roman Empire, the Tang Dynasty, and the European Renaissance. We explore potential psychological explanations for the rise in fictiveness, including changing audience preferences driven by ecological and social changes. pmc Evol Hum Sci Evol Hum Sci 4465 ehs 101773423 EHS Evolutionary Human Sciences 2513-843X Cambridge University Press PMC12344597 PMC12344597.1 12344597 12344597 40809157 10.1017/ehs.2025.10011 S2513843X2510011X 1 Research Article Cultural Evolution of the Arts Quantifying and explaining the rise of fiction https://orcid.org/0000-0002-2162-6526 Dubourg Edgar Thouzeau Valentin Borredon Quentin https://orcid.org/0000-0002-1439-9150 Baumard Nicolas École normale supérieure-PSL, Institut Jean Nicod , Paris , France Corresponding author: Edgar Dubourg; Email: edgar.dubourg@gmail.com 2025 14 7 2025 7 481830 e20 14 07 2025 13 08 2025 14 08 2025 © The Author(s) 2025 2025 The Author(s) https://creativecommons.org/licenses/by/4.0/ This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence ( http://creativecommons.org/licenses/by/4.0 ), which permits unrestricted re-use, distribution and reproduction, provided the original article is properly cited. We present a comprehensive analysis of the rise of fictions across human narratives, using large-scale datasets that collectively span over 65,000 works across various media (movies, literary works), cultures (over 30 countries, Western and non-Western), and time periods (2000 BCE to 2020 CE). We measured fictiveness – defined as the degree of departure from reality – across three narrative dimensions: protagonists, events, and settings. At the psychological level, the recognition of fiction therefore involves metarepresentational skills (Sperber, 2000 ), most notably (1) pragmatic sense – a theory-of-mind mechanism that detects others’ intent and supports ostensive communication (Heintz & Scott-Phillips, 2023 ), but also (2) pretense – the ability to engage in ‘decoupled’ thought that separates imagined scenarios from reality (Leslie, 1987 ; Tooby & Cosmides, 2001 ) and (3) epistemic vigilance – the set of psychological mechanisms that assess the epistemic status of communicated information through prior knowledge or trust in the source (Mercier, 2017 , 2020 ), which is crucial for recognizing fiction when the content is implausible or when a trusted source conveys an improbable story. All these mechanisms allow humans to recognize an imagined story as partially untrue without interpreting it as deceptive. Because these basic mechanisms are part of the human evolved psychology, fiction has always been a possible form of storytelling within human groups. In other words, these psychological mechanisms enable humans everywhere and at any time to share stories, with the shared understanding that certain elements are not meant to be taken literally. In hunter-gatherer societies today, for instance, fiction is often signalled through pragmatic cues such as references to distant times (Sugiyama, 2017 ) or evidential expressions (Aikhenvald, 2004 ). To have a first estimation of the reliability of these automatic annotations, we manually reviewed dozens of randomly selected works from each dataset. The model’s annotations were consistent with our expectations. For instance, one of the randomly selected movies was Shriek of the Mutilated (1974). The characters are portrayed as ‘ordinary humans without any supernatural abilities’, which makes their existence entirely plausible by the standards of the 1970s, leading to a score of 2. The model might underestimate the extent to which people historically believed in such stories, leading to an inflated assessment of their fictiveness. Our analysis of the rise in fictiveness may therefore understate the actual trend, due to both a sampling bias favouring more fictive past works and potential overestimation of fictiveness by GPT annotations. 4.2. Explaining the rise of fiction The overall rise in fictiveness over time raises the central question: why has it increased? While further research is needed to rigorously test explanations, we propose five hypotheses to guide future investigations. The ‘increase in trust’ hypothesis The ‘increase in trust’ hypothesis suggests that, although people may have always enjoyed the content of fictive stories, they might have been wary of their manipulative potential. The concern is not about the narratives themselves but rather about their perceived capacity to deceive and mislead audiences – much like lies. According to evolutionary psychologists, humans have evolved specialized cognitive mechanisms to detect cheating (i.e., cooperative situations that end up being costly), particularly in social interactions where trust is crucial for cooperation (Cosmides et al., 2010 ; Sperber et al., 2010 ).
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This check searched the claim as stated. It did not run a separate search for evidence against it.
  1. Narrative as active inference: an integrative account of cognitive and social functions in adaptation.peer-reviewedno side taken
  2. Surfing uncertainty with screams: predictive processing, error dynamics and horror films.peer-reviewedno side taken
  3. Quantifying and explaining the rise of fiction.peer-reviewedno side taken
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first checked06 Aug 2026
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