So I'm very late to this, but being nominated for sound editing or lighting is not at all relevant to the top line nominations that Andor got for the quality of the story.
Yeah, no. Let's leave aside that of the
eight nominations that
Andor received, most of them were for technical issues (i.e. outstanding cinematography, outstanding music composition, outstanding main title theme music, outstanding sound editing, and outstanding special visual effects).
The only ones that went to quality of the story were "outstanding drama series," "outstanding writing for a drama series," and "outstanding directing for a drama series" (and even then, it can be argued that last one is more technical than story-focused).
Now, your implication is that there's a correlation (or even causation) that those have something to do with a paucity of (reliance on) lore, and so far you haven't demonstrated that at all, beyond your unsubstantiated claim that a lack of lore in
Andor is the reason it received those nominations (and even then, that's presuming we take your claim that
Andor is lore-light as a given, which
@Divine1943 correctly noted as being suspect).
That implication, however, is still dispelled by the nominations that other such shows received.
The Clone Wars was nominated for an "outstanding writing team" Emmy (unless you want to say that "writing team" has nothing to do with the writing, i.e. the plot).
The Mandalorian has multiple nominations for "outstanding drama" and "outstanding writing."
Obi-Wan Kenobi was nominated for "outstanding limited or anthology series," which strikes me as being comparable to "outstanding drama" in that the plot is a factor (and that series was especially lore-heavy), etc.
So in other words, your suggestions that
Andor is somehow peak Star Wars writing and that the Emmy's reflect that and that it's putative lack of lore is the reason for that all strike me as three shaky premises with very little to connect them together.