I would say that if the game has any problems, it is mainly with its delivery. The writing here is a little ... thick. Heavy. It's the result of the author not being absolutely and perfectly fluent in English. This is not always an issue: there are occasions where a foreign spin on the language can result in some resonantly interesting turns of phrase -- rather like a sexy accent, you might say. But that sort of thing is often a bit hit-and-miss. I'm tempted to suggest an experiment in which the author plays up the fact that the work is not in his first language, possibly by presenting it as a direct translation, or by adopting an Italian idiom wherever possible -- writing as an Italian rather than as someone trying to match his English compatriots -- but I of course have no way of predicting whether this would make things better or worse.
Now, I tend to be a little alienated by sci-fi settings, so I was already going into this with a bit of a bias. Thankfully, there's just enough of the familiar about this world that I don't immediately glaze over. We have some strange gadgets, though their applications are fairly easily explained; the "Elektron", in particular, which might be better named as a "Portable Interface", once I figured out what it was, I wanted to put it on everything just to see what would happen. The subterranean near-apocalyptic setting means that I don't have to stare at sterile starship corridors, and thank goodness for that: those are probably the most "corridor"-like of the sort of corridor rooms I detest; lava pools are comparatively friendlier as far as I'm concerned. And then there's some backstory involving archaeology and ancient civilisations, and at that point it becomes evident that the world is quite complex and deep. Quite a bit of imagination has gone into this, even if it's in a direction I don't much care for.
Lemony-almondy biscotti, two soft-boiled eggs, and English tea.