I’ve been left wanting pilot schedules, food decisions, and many more options in regards time management. But instead I’ve been left with some very dull, very boring gameplay that will struggle to appeal to anyone.

What really kills Outbreak: The New Nightmare is the generally unpolished feel of the whole game. It must be said that the developer clearly has his heart in the right place by trying to revive the classic style of survival horror in this way, but it takes more than copying a classic to make that happen.

If you’re looking for a Zuma game, go and play the original. Or maybe even spend time with Zumania. Whatever you do, keep away from the Zumba - Treasure of the Marble Sea. There ain’t no treasures hidden here. Or if there are, they are buried so deep that you'll drown in frustration before you get anywhere near them.

The main problem that On The Road on Xbox has is not in the tedium of the driving, it's not in the poor visuals, it’s not in the game crashes and it's not in the clunky, amateurish menus. Nope, it's found in a combination of all those things along with an asking price that is verging on disgusting. And that means this is one trucking simulator that is going to struggle to make any form of headway on any console street.

It gives me no pleasure at all to say that I didn’t enjoy Crimson Keep. At all, if I’m being honest. It drove me mad, and not in that tough, but satisfying, Dark Souls way. It just drove me mad to a point where I didn’t want to play it again. It’s a tedious, nightmarishly dull experience that I have no intention of going back to.

In the end, our sweeping generalisation of 79p games was correct. Monster Blocks: Get 9 Puzzle doesn’t come with achievements, and it’s colourful but with no substance, like a Smartie with the chocolate sucked out.

Pity Pit looks bad, even by the standards of 8-bit looking retro titles, it plays poorly, with no real idea what you are meant to be doing and because you have to put up with dodgy hit detection, it just isn't fun.

Sentry Paragon feels like a cash grab in the worst possible way.

Box Dash feels about as enjoyable and fluid to control as an actual cardboard box.

It would have been difficult to make a case for this lightweight, unfinished game at a budget price point, but £14.99 for a game that’s a painful fart in the wind makes it a hard ‘no’. Find a copy of Bloodstained, Dead Cells, Hollow Knight or anything else, really, and you will have dodged an hour-long headache with Gleamlight on Xbox One.

Doodle God: Ultimate Edition falters in many areas, but mainly in the one-dimensional, so called puzzle solving and the sheer pot luck it often requires. Instead of making me feel like a god, I am constantly left like a monkey, bashing buttons and hoping a masterpiece comes out. The terrible control system simply adds to my pain, and whilst there is a lot to do, any supposed fun wears off in mere minutes.

Evil Inside feels less like the P.T. that it was trying to emulate, and more like a creaky ghost train. It moves ever-so-slowly through a series of jump scares, and those jump scares are showing their age. The paint is peeling, the wood is showing. It’s cheap and over quickly, but that’s far from enough to justify a ticket.

What a hollow carcass of a game MiniGolf Tour is. Fourteen holes. No ability to play multiplayer, local or online. Nothing to do but hit the ball hard down grassy corridors, and the grotesque remains of a monetisation store still just-about breathing, offering you cosmetics that you can’t show to anyone. ‘Mini’ golf is correct, but it’s giving it too much credit. ‘Mangled Golf’ better covers it.

If Legendary Heroes was a fun, dynamic MOBA, all of the grindy free-to-play balancing and legacy systems might have been forgivable. But it really isn’t. It feels like a hangover from twenty-year old PC RPGs, and it’s an anachronism that hasn’t even been ported properly.

Mel The Cat won’t hurt anyone. It’s an inoffensive title designed for about half an hour of fun, yet sadly it can’t even achieve that, with no second of your half an hour playthrough introducing any resemblance of enjoyment.

£3.99 isn’t much to pay for a game, even a pinball game, but what is included still has to turn out to be fun and Babylon 2055 Pinball is far removed from that.

The controls are awkward and the random deaths for falling down a pit you can’t see are bad enough, but the shots through scenery when you are on your last sliver of health are the final straw. If you are a masochist, you may get some enjoyment out of Escape From Terror City, but for the rest of us, this is one to avoid.

You can’t argue with the price of Touchdown Pinball, but it very much feels like a case of getting what you pay for. There is no multiplayer, there are no bells nor whistles, and even the basics of a pinball game don’t feel right. There is very little to recommend here, aside from some easy Xbox Gamerscore.

Whilst the visuals are nice, some of the writing is okay and the music is palatable, there is little else to like here with The Language of Love on Xbox One. When it isn’t relying on a romance story by numbers, it plays into very creepy tropes and strange dynamics in ways that made me feel rather uncomfortable.

Megalan 11 just isn’t fun. There is no sense of jeopardy, no sense of danger, no sense of impending doom if you don’t escape in the 11 days that the game gives you - there is just the unending grind of trying to get enough scrap to mend a door before a Space Cow melts its way through again.

Indiecalypse on Xbox One tries many things, but for the most part it fails. Throughout my time with it it has regularly required restarts to fix its minigames, its humour is grating and fails to show any depth, and it only really takes a couple of hours or so to finish.

Slide Stars on Xbox misunderstands everything that makes Trials HD great, producing a play-doh homage without any of the speed, trickery or finesse. Then it ushers in some moderately popular internet personalities, but doesn’t do them - or their audience - the service of including any of that personality.

Hayfever on Xbox One has the looks of a solid platformer but is a completely misjudged experience. The control system makes the game borderline unplayable, the sound design wears thin extremely fast, and irritating glitches have the potential to prevent progress. Much like actual hayfever, it’s disorienting, frustrating and downright annoying.

Ah, Love! combines puzzles and brainpower to achieve its narrative. But despite the singular positive of introducing various mechanics, issues such as not using mechanics past their introduction, mediocre level design, and abysmal presentation, all result in a game slightly above the worst of the genre.

You’d be best off avoiding CyberHeroes Arena DX and spending your time with Vampire Survivors instead. This game isn’t fit to even hold that one’s coat.

Tyler: Model 005 is simply a bad game. Good graphics cannot hide the multiple issues: bad voice acting, poor combat and crucially, terrible platforming. In a game where platforming is a major component it is imperative that jumping works, and here it does not at all. In fact, this may well be the worst example I’ve ever seen.

Pushy and Pully in Blockland on the Xbox One is simply one of those games that should be avoided at all costs. Repetitive, fiddly and not sure what sort of game it is, the only thing enjoyable about it is the art style. But even then, all it did was make me long to play those older games again rather than have to sit through any more of this. It’s not really a puzzle game, it’s not really a platformer, it’s just an unfortunately bad game.

We implore you: read the myth of Sisyphus or snuggle up with the works of Camus instead. Heavy Burden is no way to brush up on either. It’s a mashup of some of the things we hate most in games - escort missions, first-person platforming and cruel failure states - with a half-hearted gesture towards philosophy. Praise Zeus that we only had to push this rock up the mountain once.