Andy Robinson
Andy Robinson tracks how platform holders and major publishers shape the direction of video games, focusing on decisions that tie hardware, business strategy and flagship titles together. He is editor-in-chief and owner of Video Games Chronicle, where he leads coverage of console ecosystems, PC storefronts and the wider games industry. His reporting draws on around two decades of experience across games journalism and game development, which gives his stories a firm grasp of both commercial pressures and creative intent. Recent work centres on next-generation hardware features, restructuring at platform companies and long-term roadmaps for high-profile series.
Platform strategy and console ecosystems
Robinson’s core news beat is the strategy of major platform holders, with a steady flow of stories on Xbox and PlayStation business decisions and technology updates.
He covers executive statements and organisational changes inside Microsoft’s games division, using CEO comments to show how streamlining and leadership shifts translate into changes for the Xbox business. His reporting on Xbox branding decisions, including rebranding moves driven by fan sentiment, treats naming, visual identity and messaging as part of the wider competitive landscape. He pairs those corporate angles with technical coverage, such as Sony’s new PS5 upscaling technology, explaining how features like QSSR fit into the console’s positioning and potential advantages for players and developers.
Across these pieces he writes in straightforward, news-led language, keeping attention on what the decisions mean for the shape and direction of the platforms rather than on personality or hype.
Robinson extends this platform focus beyond hardware boxes by covering how console ecosystems intersect with services, storefronts and access models. Stories on PS5 features sit alongside coverage of PC-oriented services such as Epic’s regular free game offers, showing how incentives, remasters and timed promotions are used to sustain engagement around established titles. He treats these ecosystems as networks of hardware, software and business decisions, writing about them as a single strategic picture rather than isolated announcements.
Franchise roadmaps and content pipelines
A second strand of Robinson’s work follows the futures of major franchises, with emphasis on scheduled releases, expansions and structural changes to long-running series.
He reports on Blizzard’s announcement of Diablo 5 and its planned 2029 release window, framing that timeline as a deliberate long-term commitment that fits into the publisher’s broader strategy for premium titles. His coverage of Minecraft’s first new dimension in 15 years highlights how a single major update can shift the trajectory of a game that has become infrastructure for a global audience.
In Epic’s October line-up, he focuses on System Shock 2’s 25th anniversary remaster, using the free-game promotion to underline how back-catalogue titles are reintroduced and repositioned for contemporary players.
Robinson also takes on review duties for flagship releases, which gives him space to connect mechanical design, narrative choices and fan expectations. His review of Metroid Prime 4: Beyond presents the game as a landmark entry in a storied franchise, assessing how it balances homage to earlier classics with new ideas for modern hardware. By moving between hard news on announcements and more reflective reviews, he shows how content pipelines and release strategies materialise in the games themselves, not just in investor decks or press releases.
Industry workforce, media and events
Beyond companies and franchises, Robinson writes about the health of the games media and the people working inside it.
His reporting on more than 1,200 games journalists leaving the media in a two-year span quantifies the scale of contraction and treats it as an industry story in its own right, not a niche trade concern. He breaks down the implications of those departures for coverage breadth, institutional memory and the relationship between publishers and press, grounding the piece in numbers and clear causal links. This attention to workforce trends complements his own role leading an independent specialist outlet, giving context to how Video Games Chronicle operates within a changing media landscape.
Events and showcases form another recurring thread in his coverage. Robinson reports on major tentpole broadcasts such as Gamescom Opening Night Live, compiling the key announcements and reveals into clear rundowns that prioritise what matters for players and the industry. He also steps into interviewer and moderator roles at conferences, including sessions where he interviews studio leaders about new projects like Star Wars Galactic Racer, drawing out development stories and business thinking in front of live audiences.
These pieces show him operating both as reporter and on-stage interlocutor, comfortable translating behind-the-scenes detail into digestible stories.
Experience across journalism and development
Robinson’s author biography and professional profiles emphasise that he has worked in and around the games industry for roughly 20 years, spanning journalism, game development and communications. That mix of experience surfaces in his choice of stories and angles: he writes about technology and business with the fluency of someone familiar with development pipelines and production constraints. Past work includes narrative and communications roles at an independent studio, as well as editorships across print and online games publications, which inform his understanding of how messages are crafted and received.
He also contributes to broadcast media as a commentator, extending his analysis beyond the specialist press into wider audiences.
On social platforms he maintains a steady presence focused on the history and future of console gaming, commenting on generational handovers, veteran creators and landmark titles. Those posts echo the themes of his reporting: long arcs in hardware, the ageing of foundational figures and the significance of classic games in shaping current expectations. Taken together, his newsroom leadership, development background and public commentary give his coverage a perspective that is grounded in how games are actually made, marketed and played over time.
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