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“There’s a lot of randomness in it,” Roeder tells me. His book, Seven Games, charts the history and mechanics of chess, Go, backgammon and bridge, among others – the most enduring creations in humanity’s history of play. O liver Roeder fits the bill: he’s a graduate in economics and a former competitive Scrabble player – peaking at 223rd in the US – who now works as a data journalist. I decide it would be useful to talk to some experts first. OK, it’s true I studied linguistics and wrote a book about how language works, but that and having a journalist’s inflated sense of my own abilities might not be enough to propel me over the finish line this time. Which is before you even get to my total lack of experience in the principles of game design, product design, anything design really. General knowledge is my thing: I stew in facts and have bizarre recall for the minutiae of a select few specialist subjects. I’m bad with numbers, so I don’t like the mathsy ones. The only problem was, well, I’m not the world’s biggest puzzle person. It sounds easy in theory: come up with an idea for a game, simple but strangely addictive, get some tech geniuses to build it and – hey presto! – global fame, a slew of imitators and radio appearances coming out of my ears. Some things are more important than money. Will explained that I would be doing this on Guardian time, and my reward would be furthering the cause of investigative journalism. With Wardle’s millions in my mind, I asked if I would be able to keep the royalties.
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A new Wordle.” “But I’m not even that good at the original.” “Didn’t you just write a piece called How to win at Wordle using linguistic theory?” he asked. So it felt inevitable, somehow, when one day an editor on the Saturday magazine, Will, made his way over to my desk. If a game is to last, it better be interesting enough for you to be able to play it a lot of times without getting bored And while the New York Times might own Wordle, it didn’t own fun. Innocent fun was back in vogue (not, I suppose, if you count the sweary spin-off, Lewdle). But regardless of the fate of his creation, Wardle seemed to have opened up new possibilities for enthusiasm and creativity.
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When the game was bought by the New York Times for a seven-figure sum, we all worried that its uncommercial nature might be under threat: so far, at least, it remains free to play.
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I wrote a piece on how knowing the sound patterns of English words can help you crack the game, and I’ve never been more in demand – admittedly the bar is low – getting requests to talk on radio shows around the world. I remember this ripple of delight reaching the normally sober newsroom where I worked: one day the Guardian turned over its entire morning conference – the forum where we discuss the (frequently grim) news of the day – to Wordle. Key to all of them was a mechanism that acted as a counterweight to our hyperactive online lives: there was only one round a day, and the solution was the same for everyone. It inspired joyful imitations: Worldle, where you have to guess a country from its shape Emovi, where you have to figure out the film from a plot sketched in emoji. It spawned a Spanish language version, then Arabic, French, Swedish and Japanese.
And, sure enough, by the end of the year millions were playing and sharing their results on social media. The game was never intended for public consumption – it was only after it became a hit on the family WhatsApp that Wardle began to think it might have wider appeal. It’s a simple pleasure: there’s a hidden word and, using powers of deduction, you have six attempts to figure out what it is.
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Its creator, Josh Wardle, a software engineer living in Brooklyn, invented it that summer to entertain his partner, Palak Shah. Or, failing that, just something that doesn’t have its own designated horseman of the apocalypse. People are searching for reassurance, distraction. Just as life is beginning to return to normal for many, warnings of a sinister new variant spread. We’ve been through 18 months of grief, fear and disruption.
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