A Pizza Delivery Review: A Beautiful, Bizarre Journey

“A Pizza Delivery” is, on the surface, a game about delivering pizza. But right away, it becomes very clear that this is just the starting idea. It’s a simple way (on a scooter) to take you through one of the most interesting, beautiful, and totally bizarre journeys I’ve had in a game. I “really loved the game”. It’s a dream-like, often choppy mix of feelings that shouldn’t work together, but it does. It has the cozy, strange, and magical vibe of a Ghibli movie, the creepy, scary feeling of Silent Hill, and the story-focused heart of a “walking sim” (or I should say a “driving sim”) like What Remains of Edith Finch.

It’s a captivating and well-made game. I found it to be deeply beautiful, even if (or maybe because) it doesn’t always make sense. But this beauty is held back by some major technical problems that make it a bumpy ride.

The Setup: More Than Just a Delivery

You play as “B,” a pizza delivery girl. That’s all you know about her. The game “just pops you in,” starting you in a normal elevator for your first delivery. After this normal opening, you’re introduced to your boss, Earl. He serves as your guide, your mission control, and your only regular human contact. He calls you from different phone booths spread throughout the world. His voice on the phone gives you unclear instructions and tries to keep your spirits up. B, as we learn, has “no sense of direction”, so she has to rely on Earl’s help.

The main gameplay idea is simple but smart. It’s all about two pizza boxes. The Green Box is for the main customer, which is your main goal. But the Red Box is for the random, lonely people you meet along the way. This single mechanic nicely sets up the game’s two-part story: the A-plot of “finish the job” and the B-plot of “connect with the lost souls.”

Your other main friend is your delivery scooter. It’s your key to traveling this strange world, but it’s not perfect. It can be blocked by certain obstacles along your way-it might be unable to move because of water, or it can run out of gas, leaving you stranded in the middle of nowhere.

 A Journey Through a Surreal World

The game’s story is told through a series of more and more strange and memorable parts. You’re not just delivering pizza. You’re solving puzzles, meeting lost souls, and pushing through a world that seems to be falling apart.

Early on, you hit your first big roadblock: a water-logged area that’s completely flooded. It’s impossible to drive your scooter through. While exploring on foot, you find an abandoned house. Inside, you find the first of many diary pages from “Clarence”.

Clarence, it seems, was a delivery boy before you. His diary shows his growing need to quit the job. His notes strongly suggest he was responsible for the flood, a last-ditch try to “escape from the place”. This discovery sets the mood. You are following in the footsteps of someone who failed, or maybe someone who tried to break the loop.

This area also has the game’s first major multi-step puzzle, and it’s a great one. I found a clue. It was a yellow flower pattern that “looks like the ring from the Elden Ring cover,” which led me to explore more. I found a hidden music box (a collectible) behind a waterfall and a path where I had to “squeeze through the wall”. The puzzle to drain the water involved finding a key taped to a harmonica, of all things. I used it to open a locked door and find the lever that Clarence had thrown away. This lever is the key to draining the water in the whole area, letting you move on.

The People You Meet Along The Way (The Lost Souls)

The heart of the game, for me, was in the “Red Box” deliveries. These were the strange, lonely people you meet. All of them seem to be trapped in their own personal loops. After you talk to them and share a slice of pizza, they simply… disappear.

• Nobi: The first person you meet is Nobi. He’s a man sitting on a ledge in a park-like area. He warns you not to sit on the benches. Being curious, I did it anyway and realized he was right. The benches are turning people to stone. Later, after talking to Nobi and sharing a pizza slice with him, he gives you a key item: a Polaroid picture of a place that “might help you later”.
• The Backpacker: In a very pretty (yes, the cemetery was very pretty and scenic) but rainy cemetery, you meet a backpacker with a guitar. He tells you his sad story: he “broke up with his fiancée” and “has a kid”. To get the key to the cemetery gate, he challenges you to a stone-skipping competition. It was a surprisingly fun quick-time event where you have to win three rounds.

Pora: Later, my scooter ran out of gas, leaving me stranded outside a factory. A girl named Pora calls out from the roof. She has fuel and a key, but she wants pizza. To reach her, I had to solve a stressful and clever puzzle. It was raining, and Earl had clearly warned me that “nobody likes a wet pizza”. The puzzle involved using conveyor belts and moving a large box to “prevent the pizza box from getting wet”. It was a great example of using the game’s simple idea as a core gameplay mechanic.

The Puzzles of a Glitching Mind

As the game goes on, the world becomes less solid. The puzzles become more dream-like, and the “Silent Hill” feeling gets stronger. One of the most terrifying moments was about the game itself. I was driving my scooter through a tunnel when “the entire screen started glitching,” and “weird noises started coming out”. I really “got scared”. I thought my “game got corrupted” or my PC had crashed. But it was all part of the game’s design. It was a planned trick that ends with you being moved to a new, dark area, or I might be wrong- it could also be a bug.
The puzzles also get trickier, linking together in ways that feel good to solve. Nobi’s Polaroid, for example, leads you to a bricked-up building. Squeezing through a crack, I found a Vinyl Record with a single word on it: “ARROW”. This was the password for a “red door” I’d seen earlier.

Opening that door led to one of the creepiest sections: a room filled with the “silhouettes of people sitting on benches”. It was deeply creepy. Past this, I found another puzzle. It was a door that needed a starfish-shaped object I had found in the park. To open it, I had to memorize a left-right pattern. The solution? A nearby window is showing repeating CCTV footage, with each screen briefly flashing an arrow. Later, I got stuck in a “huge hallway” with “lots of doors”. I found a book titled “How to get out of loops”. The game was telling me I was, in fact, in a loop.

But after managing to find a way out of this weird and creepy loop, I found myself in another area with another telephone booth, where Earl tells me to go through a graveyard to reach the next area. This is the area where I met the Backpacker. And after completing the stone skipping mini-game I mentioned before, I got the reward for all the challenges I faced so far. A beautiful sunset drive alongside some windmills. It was mesmerizing and surreal. It made me love the game even more.

The End of the Line: The Climax

The game’s final act is a great example of shifting feelings. It begins with a “really pretty” and peaceful drive under a night sky filled with Aurora Borealis. It was the calm before the storm. All of a sudden, a “weird explosion,” which was a white flash, throws you into chaos. You’re in a wild chase, driving your scooter down a track while “multiple trains falling on” you. It’s a massive, messy scene. I’m not sure if it’s even possible to escape, as the explosion “catches up”.

You’re caught. You wake up in a hallway with two doors: “Try Again” and “Continue”. “Try Again” just replays the explosion. It’s a pointless loop. This is the game’s main idea. You can’t go back. You must choose “Continue.”

This choice drops you into a heavy snowstorm with nothing but a compass that u picked up earlier to guide u. B is at her limit. She’s cold, tired, and “wants to quit”. Earl calls (idk from where a phone booth spawned in the middle of the storm, but anyway), trying to encourage her, but B falls. The game gives you a new goal- to keep moving forward. It was a hard, “difficult” struggle to get B to move, to keep going because I needed to press like a bunch of buttons all together at the same time. As I mashed the buttons, B slowly crawled forward. In the far distance, I saw them: the shadows of Nobi, the backpacker, and Pora, the three people I had helped. They were watching, and after trying to crawl towards them, B finally blacked out.

The Final Delivery

You wake up in a “prettier” orange grass field. Your scooter is there. You meet the final customer- the person we were tasked to deliver the pizza, a “Granny,” who is just happy to see you. She tells you about her husband, who “built the house for her because she doesn’t want to feel alone”. It’s a sweet, emotional moment. B, so happy to see another human, “hugged her”.

When B asks how to get back, the Granny gives the game’s final, perfect line: “You don’t have to worry about that. Just take your scooter and move forward”. B gets on her scooter, drives over a bridge, and the credits roll.

 Real Talk

Even with the major technical problems, “A Pizza Delivery” was an incredible and memorable game. It’s a very short, beautiful, creative, and emotional journey that was a ton of fun to piece together. The framerate jumps and “off” controls are annoying, but they aren’t enough to ruin what is, at its heart, a “captivating” and “amazing” experience. The game has a powerful, simple message: the past is a loop, and the only way out is to “keep moving forward”.

If you have a love for dream-like, story-driven indie games, I highly recommend it.

FINAL SCORE: 80/100