It's the content that a title promises that tends to sell video games, not the creator. Thus, things like sequels are an obvious go to for publishers that want to make a buck. However, there are other mediums where the author rules.
The last 10 or 11 months have seen an awful lot of twos. Assassin's Creed II, Bioshock 2, Kane & Lynch 2, Mafia 2, Modern Warfare 2 were all fairly big ticket sequels, and with the arrival of a plethora of sequels, very often comes the discussion of the lack of creativity on the part of developers and lack of courage on the part of publishers in developing original intellectual properties.
Some of these titles received initially positive critical and fan response (though in some cases, this initial adulation faded once the "newness" of a follow up to a beloved game wore off). However, much as fans of movies often do, fans of video games also very often question the potential quality of follow ups, wondering if the creative types might find their time better spent working on a new idea, rather than merely attempting to polish up (or more cynically put, cash in on) an older one.
Unfortunately, for fans of particular creators, like Ken Levine or Hideo Kojima, or specific development houses, like Rockstar or Irrational Games, this medium (again, much like film) is one that is marketed on the basis of content recognition and much less so on creative recognition.
However, there are other mediums in which creative is the product, much more so than content is.
Grab a paperback off your shelf. Take a look at the spine, take a look at the cover. Notice anything about the way that the creator is presented?
If you're looking at the spine, most likely you're seeing the book's author and title. The author's name is probably about the same font size as the title. It might also be bigger. If you're looking at Moby Dick or Paradise Lost, the authors might be dwarfed by the title, but you are looking at the exception, not the rule. The fame of these particular "classic title" outweighs the fame of authors like Melville or Milton. However, this is more often not the case. James Joyce, Ernest Hemingway, and Edith Wharton, for instance, are likely to get equal or greater billing than their titles. In the case of more contemporary novels, this is likewise the case. Grab a few other paperbacks, you'll see what I mean.
Want to know why the authors of books tend to produce fewer sequels? You're looking at it. The way that the book is sold is as a product of a particular creator; that's the hook. If you liked Carrie, then what the huge name above that title is telling you is to go check out some other titles by this guy named Stephen King. King doesn't have to produce sequels (nor do lesser known authors necessarily either). His name is a huge part of the product that the audience is being told that they should be looking for.
(I should note that there are always exceptions. J.K. Rowling and Stephanie Myer are very much a part of the sequel machine. They did begin on such ground on their own terms though. I believe that they intendedd sequels from the start. These two are not typical authors though, like, say, a Norman Spinrad or a Mark Helprin or an A.S. Byatt or hundreds of others, folks with less gargantuan fame that are not driven towards sequels; they just sell books with their names on the cover and their fans follow their stuff. Of course, Rowling and Meyer's works are not targeted towards an adult audience, which might explain some of the difference in marketing as well.).
In a nutshell, what I am trying to say is that in order to shift the audience's perceptions of why they should buy a game from content (which tends to produce a lot of sequels, adaptations, and the like) towards creative (which might allow developers to experiment a great deal more with what they do next), one way that games are marketed could be changed in a very simple way that would simply educate their audience in a different (and again, very simple) way. This is a model that is not contingent on any especially intelligent audience. In fact, it presumes quite the opposite in its simple nature.
I also suspect that a game like Bully would have benefitted greatly from a huge "Rockstar presents" appearing equally large above the previously released Grand Theft Auto titles. That way fans would associate this new title with the older one. I am not saying that it would have sold as many copies as GTA IV, but I am betting that a few people that browsed right by it in 2006 would have stopped to take a look at a more obvious yellow Rockstar logo than the smallish one that they seem to have not noticed that appears way down in the right hand corner. Of course, that is assuming that the previous GTA games had been marketed to begin with by equalizing the name Rockstar with the game Grand Theft Auto III.
Like the concept of the sequel, which builds on name recognition, creating clear associations with creative is the way to create a recognition of the appeal of creative over the appeal of mere content. It ain't rocket science; it's just basic book marketing.