Few games have a second life after their studio closes. The Invisible Hours, a narrative-driven VR experience from Tequila Works—creators of titles like Rime and Gylt—became an exception. Following the studio’s shutdown due to funding struggles after Riot Forge’s discontinuation, its intellectual properties were auctioned. For writer Rob Yescombe, whose credits include The Division and Arizona Sunshine II, this presented a rare chance to reclaim a passion project.

“Ownership of creative work is almost unheard of in our field unless you’re a founder,” Yescombe explained. “When Tequila Works’ assets went up for sale, I saw a fleeting window to preserve something meaningful.” His attachment to The Invisible Hours, which he once called “the best creative experience of my life,” stemmed from its collaborative spirit. Developed alongside Tequila Works’ Raúl Rubio, the project allowed Yescombe unparalleled storytelling freedom. “We trusted each other completely. The cast and crew poured their hearts into it—that energy still resonates in the game.”

Yescombe’s immediate goal is remastering the 2017 title for modern VR systems like Meta Quest 3 and PlayStation VR2, with plans to adapt it later for film or TV. While he aims to preserve the original’s essence, he’s exploring ways to enhance its social elements. “Imagine solving the mystery collaboratively—discussing clues with friends in real time. That’s the dream,” he said, noting Meta’s focus on shared virtual spaces. To avoid studio-building pitfalls, he’ll partner with an existing team to handle technical upgrades.

Why prioritize VR for a niche market? Yescombe argues the medium’s growth since 2017 justifies the gamble. “Back then, we launched into a nonexistent audience. Now, with 20 million Quest devices alone, there’s real potential.” He also emphasized the game’s accessibility: unlike action-driven VR titles, its theater-like pacing invites newcomers. “You’re an unseen observer, piecing together the story at your own pace. Every playthrough feels personal.”

Despite recent film successes like Jackpot!, Yescombe remains drawn to games’ interactive nature. “Movies are polished artifacts. Games are living collaborations between creators and players,” he said, recalling his art school days exploring audience interaction. “Watching streamers uncover hidden dialogue? That’s magic. You build frameworks, then discover what players make of them.”

The remaster will include non-VR versions released post-launch, but Yescombe believes the headset experience remains unique. “Being physically present in the mansion’s rooms as secrets unfold—that immediacy can’t be replicated.” While no release date is set, his roadmap is clear: revive the game for today’s hardware, then expand its reach. He’s also tight-lipped about another project with The Quarry’s Will Byles, hinting only: “We’re building something new. That’s all I can share.”

For now, Yescombe’s mission is giving The Invisible Hours the audience it deserves. “Critics and players loved it, but commercial success needs scale. Today’s VR ecosystem finally offers that.” As headset adoption grows, his tale of mystery and betrayal might yet find its moment in the spotlight—both in virtual reality and beyond.