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The success of early arcade games led to the eventual development of “Super Mario Brothers” for the original 8-bit Nintendo. With the raging success of “Super Mario Brothers,” a sequel was created. It contained all of the intrinsic game play elements of the original Mario game: essentially, the player was forced to navigate a stage riddled with challenging enemies, environmental obstacles, and the occasional helpful item. Some improvements and new features were added to the second game to enhance the qualities of the first, including a more in-depth narrative and the ability to play as different characters - each with different strengths, and arguably better graphics and music. “Super Mario Brothers 2” was a success and further Mario Bros. sequels were produced in a similar fashion. The Mario games and their undeniable commercial success inspired other game franchises to be basically modeled after the game-play structure in Mario. As a result, Mario ultimately spawned the ‘action-platformer’ genre of video games. "Sonic the Hedgehog," "Crash Bandicoot," and even "Tomb Raider" are examples of the expansive range of games considered to be part of this genera. Each ‘action platformer’ offers a slight unique variation on the theme. However, for the most part, despite the prettier graphics, the more intense characters, the kookier weapons, and other elements that have been introduced to the 'Mario formula,' the games, at their core are still the same as the 1983 original Mario Brothers release. The games may still be fun, yet they add little in the advancement of the evolution of gaming.

The game "Dance Dance Revolution," can be seen as an example of how there is still room to define new generas in the gaming industry. "Dance Dance Revolution," (or DDR) was a game originally released in Japanese arcades in 1998. It utilizes a 3 foot by 3 foot dance pad as a controller. The object of the game is to step upon the arrows on the pad in synch to the rhythm of the game's music and scrolling arrows on the screen. DDR became immensely popular in Japan and eventually made its way into the United States where it also acquired a large following. Like the success of "Mario Bros." or other pioneers of video game generas of the earlier days of gaming, DDR's popularity inspired the development of a new modality in which video games could be experienced. Games implementing the use of musical rhythm as the primary gameplay element became grouped under the title of a new genera – ‘the rhythm game.’ In addition, DDR forced the use of full body physical movement within gaming. Had "Dance Dance Revolution" not been released and set a precedent in game play innovation, several popular games on the market today (“Donkey Konga,” “Karaoke Revolution,” and “Taiko Drum Game” for example, and even some of the missions of "GTA: San Andreas") would most likely be non-existent. Furthermore, although rhythm games may be less prominent than action-themed games in mainstream American gaming culture, these rhythm games dominate the arcade scene in Japan. The results of one very innovative game have irreversibly changed the gaming industry by introducing elements in gaming that had been hitherto unimagined.

Today, some of those clamoring for the introduction of revolutionary games have taken it upon themselves to create unique experimentations with the medium. In America, more often than not these games arise through small, independent groups or student endeavors. As a result, these games may only enjoy recognition among small, limited niche audiences. It is unlikely that they would ever gain the influence and power (read heavy marketing) to reach the game-hungry masses or to make any significant impact on the industry. American game developers and publishers - armed with the power of expensive advertising and promotion budgets to generate mainstream game name recognition, pretty nearly decide the products to which the American public is exposed. These publishers and developers would, for the most part, never take the risks that small, punk developers would; it is far more business savvy to create a game that is formulaic in design and concept but almost guaranteed to be a commercial success. Creating an inspired but off-beat and formulaically untested game that might risk going untouched on the shelves of the local Gamestop or EB Games could lose these companies millions of dollars. As a result, though revolutionary games in America are being created they remain in the neverland of commercial and public obscurity. Game creativity, as a technological concept and as a fine art form, could benefit from more public support and recognition, as do other art media via sponsorship and more direct linkage between creative impulse and public access. Lacking some kind of clout to change the way games are made and marketed, the Wilbur and Orvilles of game creativity will remain tragically impotent.

In Japan, the very cradle of video games, game makers recognize the importance of constantly testing the established boundaries of video games and breaking the rules of gaming convention. A seemingly endless list could be made of all the-by American standards-zany off-beat video games titles that have been released in Japan. Only a relative handful have made it to the United States. Many of those that have did in fact create ripples in the stagnant waters of games in America. The most recent example is Namco's "Katamari Damacy." Released in the US in the fall of 2004,"Katamari Damacy" became immensely popular among gamers across all demographics. Featuring unique concepts in both gameplay and story, people were drawn to it despite its competition with eminent releases such as "Halo 2" and "Doom 3." A very highly anticipated sequel to "Katamari Damacy" is currently in the final stages of development. The success of "Katamari Damacy" is undeniable proof that gamers are hungry for something fresh and new in games - if they are made available - and, importantly, that risky games can be commercially successful.

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