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Colorado Business School fi nds workers that train with video games absorb
and remember their training better than those that are trained more pas-
sively. [ . . . ] Sitzmann also found that training games were most ef ective
when paired with further instruction before and after gameplay, and when
employees were 'intrinsically motivated' and allowed to come back to the
game and master the associated skills” (Orland 2010).
Initiatives follow one another, confi guring a wide range of forms and
types of serious games (Sawyer and Smith 2008), that teach concepts of the
work world, help understand socio-political issues, show how to contribute
to environmental sustainability and ecological conservation and even pro-
vide health education.
A perfect example of the combination of medical therapy and games
is Gabarello , acronym of Game Based Rehabilitation for Lokomat . The
game was designed as an application for an exoskeleton equipped with an
electromechanical system called Lokomat , whose aim is to facilitate neuro-
logical response and muscular strengthening in marrow and neurological
rehabilitation therapy making funny an arduous therapy like neuropsycho-
motor rehabilitation.
Gabarello is a little, big-headed astronaut lost in an unknown planet
who wants to come back home. He is also the main character of the game
of the same name that is used in motor rehabilitation of children suf er-
ing marrow and neurological lesions. The jury of the European Innovative
Game Award has just awarded it the prize for the most innovative video
game 'because of its transforming a very tough therapy like learning to
walk again into a stimulating, self-motivated, fun experience'” (Bosco and
Caldana 2011).
SUMMARIZING
There are three types of gamifi cation closely related to one another:
1.A natural gamifi cation linked to the capacity inherent in video games
for generating culture, not only in an aesthetic sense, but also under
the form of the “metal wiring of the youths of this generation” (Anto-
nella Broglia), the adults of tomorrow. A gamifi cation that shares a
semantics with other human activities (as shown in the preceding).
2.A forced gamifi cation obsessed with introducing artifi cial and con-
scious elements of the video game language, attitudes and hab-
its of video gamers into business processes and methodologies of
production.
3.A technological gamifi cation—somehow also natural—connected to
the video game's capacity for creating new digital technologies (which
in turn produce new semantic possibilities in the video game's own
language) that every day progressively invade our lives in a form simi-
lar to that of natural gamifi cation.
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