Summary of all the level files

Level 0: intro ?
level 1: Brian date 3
level 2: Scene where Amanda tells you to see Hugo
level 3: Scene where you go to the bar or go to Joseph’s house
level 4: Meeting Brian in the park
level 5:Something about Joseph his kids and the school????
level6:Meeting Mat 
level 7:Meeting Robert in the bar
level 8:Going to the new house with Amanda
level 9:Running into Craig
level 10:Damien date 2
level 11:Workout with Craig
level 12:Bacon scene with Amanda
level 13:The code says you meet Damien at night somehow???? but it’s the scene with Amanda while watching tv
level 14:Going to the mall with Amanda
level 15:Dadbook quiz
level 16:Waiting for Amanda to get home
level 17:Craig date 3 dads may have four ends
level 18:Cult ending
level 19:Damien date 3
level 20:Graduation party
level 21:Hugo date 2
level 22:Hugp date 3
level 23:Code for ui
level 24:Mat dadte 2
level 25:Mat date 3
level 26:Robert date 3
level 27:Some sort of user input mentions robert
level 28:Code for the user viewpoint
level 29:Robert date 1
level 30:Build that dad code
level 31:Code for the points system for dates 
level 32:Nothing story related but I couldn’t figure out what the code was for
level 33:Beginning of the game 
level 34:Returning home from the bbq
level 35:Brian date 1 

level 36:Brian date 2
level 37:Craig date 1
level 38:Craig date 2
level 39:Damien date 1
level 40:Hugo date 1
level 41:Joseph date 1
level 42:Joseph date 2
level 43:Joseph date 3
level 44:Mat date 1
level 45:Robert date 2
level 46:Code for the dadbook itself
level 47:Code for fishing mini-game
level 48:Code for the golfing mini-game
level 49:Start menu
level 50:The bbq
level 51:More ui stuff
level 52:When Amanda gets accepted to university
level 53:When Amanda talks about her friend drama
level 54:I think it’s code about the text messages
level 55:Walk Mary home code
level 56:Credits
level 57:Whittling mini-game(It doesn’t seem to have any triggers)
level 58: I have no idea what this code is for but it seems to be a mini-game
level 59:Piano mini-game
level 60:Skeeball mini-game

Things that I found interesting:
The variable for whether you slept with Robert or not is “FuckedRobert” which I found funny
It seems that each dad actually has four endings. The point system in the game is Daddy points,Dad points,Bad points and Baddy points. The dadbook adds and takes these points depending on your answers when you date the dads.The points you have carries over so you do badly on a date or not get all the daddy points and still get the “Daddy ending”. 

The only baddy ending I can think of is Robert’s when you sleep with him. The code made it seem possible for all the dads. 

I think it goes

Daddy ending: Getting together or self improvement in some form
Dad ending: Friendzoned 
Bad ending: Never gotten one
Baddy ending:The dad hates you or you have no relationship

I only saw that Craig needed over 20 daddy points to get his Daddy ending. I’m not sure about the others.


Tell me something about yourself.


Well, try to make it interesting, I have a long day ahead of me.

     Thik ho (ok). I have una cosa (a thing) about freckles.  A sexual cosa. I find freckles a turnon. Freckled skin, it’s like it’s clothed and not clothed…There’s no freckles pornography. Women get famous for breasts and legs, but not for freckles.

There’s Anne of Green Gables.

     I regard Anne of Green Gables as an erotic classic.

Code 46 (2003)

directed by Michael Winterbottom

cinematography by Alwin Kuchler


Final scenes of Code 46 (2003).
Samantha Morton as Maria Gonzales.
Directed by Michael Winterbottom. Written by Frank Cottrell Boyce.

I was exiled because I tried to cheat the Sphinx. They left me my memories. They don’t care what you think if you’re outside. Why bother? To them, it’s as if we don’t exist.”

“If we had enough information, we could predict the consequences of our actions. Would you want to know? If you kissed that girl, if you talked to that man, if you take that job, or marry that woman, or steal that papel? If we knew what would happen in the end, would we ever be able to take the first step, to make the first move?”

Code 46 (2003)

If we are frightened, we run. It’s our instinct. Adrenaline pumps round the body. The muscles contract. Our heart beats faster. And we run. We run for our lives, we run for safety, for our home, our families, our loved ones.
—  m

Code 46 (dir. Michael Winterbottom, 2003, UK)

Like many people I know, I am someone who loves to read but is a terrible reader. (Adding insult to injury: I worked in libraries for five years.) One thing I’m also known for having is intentionally never taking the easy way into an ouevre, which leads me to my first Philip K Dick book: not “Do Androids Dream of Electric Sheep?” or “The Man in the High Castle” but instead 1964’s “The Penultimate Truth”.

One thing that I’ve taken away from “The Penultimate Truth” was Dick’s gift of dropping you into a foreign universe with little - if any - consideration to whether you could keep up or not. A big part of the novel consists of language being used in ways that only becomes familiar with repetition, a tactic that is bewildering for the first thirty or so pages but ultimately rewarding. The reader has to embed themselves in the artist’s world so you can understand fully what a “Yanceman” does, where “demesneses” can be found, who or what the “Pac-peop” are.

Michael Winterbottom’s kind-of science fiction sort-of romance Code 46 has a similar approach - this is a dystopian, post-cloning world where English has consumed every other language, where verbs and nouns are more often Spanish or Russian than not; where designer drugs are used freely and referred to as “viruses”; where social class is determined by either being inside or afuera. The film starts with an “official” explanation of the title (pictured above) that is as helpful as it is bewildering. It’s a Dick-y challenge: keep up, stupid. Code 46 is pretty confusing at points - I just finished watching the damn thing and still needed reminded what the hell code 46 was - but it carries a sensibility unmatched by many other films and is well cast, particularly in the case of Samantha Morton. Morton always carries a sense of mystery that slowly and surely casts a spell on the viewer, making her perfect for Winterbottom’s minimalist sci-fi approach. Time and time again he returns to the factors that make her a somewhat unconventional screen presence - that chameleonic voice! those huge eyes! that intense body language! - that rewards the viewer with each passing scene. In Code 46’s closing moments, I may not have totally kept up with Winterbottom’s world, but sure felt rewarded keeping up with Morton.