Andy Robinson

Andy Robinson leads Video Games Chronicle with a long-view, industry-first approach, using news stories to illuminate how business decisions and media pressures reshape games and the people who cover them. He is editor-in-chief and owner of the independent entertainment website covering video games, combining publisher leadership with frontline reporting on platforms, hardware and the games press itself. His coverage centres on the structural shifts around console strategies, digital distribution, market volatility and the changing realities for journalists and players.

Industry news, platform strategy and the future of ownership

Robinson’s reporting on platform decisions consistently foregrounds how they affect ownership, access and player control rather than only cataloguing announcements. In his coverage of Hideo Kojima’s reaction to Sony ending production of physical PlayStation game discs, he focuses on the designer’s concern about losing true ownership when games move entirely to digital services and remote servers, treating the story as a warning about the long-term implications of platform policy. He has discussed console hardware shortages and their impact on release plans for major titles, including commentary that a prolonged hardware crisis is pushing publishers like Rockstar and Take-Two to seriously consider accelerating a PC release of Grand Theft Auto VI.

Across these stories, he treats platform strategy as a business and consumer issue at once, connecting disc discontinuation, hardware pricing and release timing to the broader question of who actually controls games and when players can access them.

Games media, market pressure and independent publishing

Robinson gives sustained attention to the pressures on games journalism and the economics of running an independent site. In his reporting on the departure of more than 1,200 games journalists from the media in recent years, he quantifies attrition and highlights how closures and job losses have become a regular feature of industry headlines.

He links these departures to growing demands on surviving outlets to prioritise keeping the lights on over producing the deeper reporting audiences expect, framing the trend as both a labour issue and an editorial one. When Video Games Chronicle launched its Patreon, he explained that volatile advertising markets and reliance on traditional platforms like Google had made funding independent games coverage increasingly challenging, even with strong audience numbers.

That piece positions reader-supported models not as a branding exercise but as a necessary adjustment to preserve the kind of content his team wants to publish, tying business model changes directly to the future of games reporting.

Podcast insight, market data and global games trends

Beyond written articles, Robinson uses podcasts to extend his analysis of industry stories, audience behaviour and regional market data.

As a founder and editor of Video Games Chronicle, he appears on shows such as The Game Business Show to discuss current industry developments, the rising popularity of older games, and new data emerging from Asia and MENA game markets. On VGC: The Video Games Podcast, he co-hosts weekly conversations that promise exclusive news, insight and critique on the fast-moving world of video games, positioning the show as a place where reporting is unpacked with additional context and opinion.

These appearances show him moving easily between editorial leadership and on-the-record commentary, using broadcast formats to explain the significance behind headlines, from regional growth trends to platform strategies that might otherwise look like routine corporate announcements.

Long-term perspective across journalism and development

Robinson’s coverage is shaped by two decades of experience in and around the games industry, spanning both journalism and game development. His professional profiles describe a career spent working across leading print and online publications, followed by several years in game development and narrative work before returning to independent publishing as editor-in-chief of Video Games Chronicle. That dual background informs his interest in stories about the craft and labour of making games, the realities of studio communication, and the business constraints behind platform decisions and media models. It also underpins the tone of his reporting: he writes as someone responsible for an independent outlet’s survival while maintaining a clear-eyed view of how market forces and platform changes affect both creators and the journalists who report on them.