Pizzapocalypse 2 hands you a pizza and calls it the moveset

The moveset is a pizza. You bounce off it, you swing on it and you dash with it, and those three verbs are how you cross every city in the game. PizzaCorp has taken the world with a product called Pizza-In-A-Can and a fleet of robots it insists on calling P.A.L.S., and the counter-argument you are given is a real pizza — thrown, ridden and hung from.

That is a stranger decision than the joke makes it sound. A 3D platformer normally keeps its traversal inside the character: the double jump, the air dash and the wall run are things the body learns and then owns forever. Here the moves that decide a route belong to an object you are carrying, which means the game can put it somewhere, take it away from you, and let you watch where it lands.

The structure around it is built for repetition rather than completion. You travel through different countries, the cities are packed with secrets, and there are outfits, new pizzas and bonus levels to dig out of them. The developer is explicit that there is no correct way to play: collect everything, or file your times down, or go looking for the rooms nobody has posted yet.

The Secret of Mario’s Jump (and other Versatile Verbs) argues that a great verb is not a great button. It is one action whose result changes with timing, speed and context, so players keep finding new things inside a move they already own. Bounce, swing and dash off a single held object is a bet on exactly that. If they are three separate buttons that happen to share a prop, this is an ordinary moveset with a topping on it. If arriving faster makes the bounce into a launch and the swing into a slingshot, it is a verb, and verbs are the thing people replay a level for.

How Snake Pass Became a Platformer Without Jumping is the closest structural relative. Snake Pass keeps the costume of a 3D platformer and deletes the genre’s most familiar verb, and everything interesting about it comes from what fills the hole. Pizzapocalypse 2 runs a softer version of the same move — the jump is still around, but the decisions come off the pizza. The risk is identical in both cases: change the verb and every piece of geometry has to be re-cut for it, because a ledge placed for a jump is not a ledge placed for a swing, and a level that works for both usually works properly for neither.

Super Mario’s Invisible Difficulty Settings is what turns "fun for all skill levels" from a marketing line into a design. Mario almost never shows a difficulty menu; it hides the dial in routes, optional goals and prizes, so players choose their own level of pain without having to admit to it. Collect everything, or improve your times, or find the secrets is the same trick — three difficulties wearing the costume of three playstyles. It holds up only if the gentle route still ends somewhere worth reaching, and the demanding one is actually harder instead of merely longer.

Pizzapocalypse 2 is made and self-published by [Monkey Strike Games](https://www.monkeystrikegames.com/), listed as coming soon on Windows with no date announced. It sits under Action, Adventure, Casual and Indie, single-player, with full controller support and a gamepad recommended.

The accessibility list is where a small studio shows what it meant by all skill levels. Adjustable difficulty, adjustable text size, colour alternatives, camera comfort options, custom volume controls, a keyboard-only option, and levels that stay playable without timed input. Camera comfort is the expensive one to promise in a game built around swinging, and it is the one that decides whether a lot of people can finish it at all.

If the appeal is a game staking everything on how it moves, A werewolf game with no name is the sibling on this list — a solo developer with no title and no store page, betting that a movement system on its own is enough to make people care. Pizzapocalypse 2 makes the same bet with more scenery attached: the countries, the corporation and the outfits are all hung on one moveset, and if the pizza is not fun to throw, none of the rest of it lands.