Yesterday’s inFAMOUS: Second Son patch introduced the possibility to change the time of day, but there’s one more layer of “customization” you can add, even if it probably wasn’t intended (but you never really know with Sucker Punch).

You can activate the rain effect regardless of the time and weather setting by exploiting what seems to be a very easily accessible glitch.

Run all the way back to the bridge where you came from at the beginning of the game (there are ways to actually cross it again, but you don’t need to for this).   Once you reach the place showcased in the screenshots below, just jump in the water between the broken extremities of the bridge. Anywhere beyond the black concrete spike in the pictures is fine.

Then press the touch pad to get your feet back on dry land, and it’ll be raining, no matter what time of day you have activated, giving you quite a few more weather combinations for your photo mode adventures.

Even more interestingly, this glitch works at any time in the game. Having completed the story and unlocked the time of day settings isn’t necessary, so if you really dislike to be dry and warm and want to “make it rain” at any point in the story, now you can.

http://www.dualshockers.com/2014/04/18/awesome-infamous-second-son-glitch-allows-you-to-make-it-rain-regardless-of-weathertime-setting/

A couple weeks ago we covered some very impressive screenshots of the recreation of Half-Life 2‘s City 17 by PolyCount forum user Logithx. Those were made in the Unreal Engine 3, but Logithx was determined to rework the scene in Unreal Engine 4.

Apparently, he already started, but that’s not all. He posted a screenshot comparison showing the massive improvement in global illumination between the two versions of the engine. Here’s what he had to say about the changes.

I don’t think people will want to drop Lightmass anytime soon. The indirect lighting seems to have gotten a huge upgrade in Unreal 4. Working on environments that depend mostly on indirect lighting has become much more enjoyable rather than frustrating. I also feel much more in control, in Unreal 3 you always had to either massively boost the indirect lighting universally (which gave baking problems and looked ugly in many places) or use hundreds of dim ‘fake lights’ to give the illusion of indirect lighting.

Notice how the sunlight in Unreal 4 bounces correctly onto the train to the right, and even goes up to the ceiling to illuminate the panels and supporting structures.

You can see what he means by yourself in the screenshot below featuring the same Half-Life 2scene in both the old and the new incarnations of the engine. If you’re excited to see it applied to actual games, I am too.

http://www.dualshockers.com/2014/04/18/unreal-engine-4-screenshot-comparison-shows-massive-improvement-in-lighting-from-unreal-engine-3/