I found it to be quite a pleasant surprise myself. I went into it hearing about how it didn't stand up to Torment and how it fell off after a decent first half after Sagus Cliffs, yet my experience was actually the opposite. I thought the Sagus Cliffs section was alright but it was following it that the game really picked up steam, and whereas I expected to dislike the Bloom based on initial art and concept, I found myself quite enthralled with it. I went with middling expectations and they were easily surpassed.
I played the game a while ago so I cannot recall the specifics right now with too much detail, but some general impressions are as follows: contrary to the rest here, I was expecting the game to be *very* flowery with its text, essentially trying to one-up Torment's writing and using word-count as a bar and the likes... And I was glad to find it wasn't really the case. I thought the text in Pillars, Torment, Tyranny or Disco Elysium was much more laboured for instance, and there were also some touches to facilitate comprehension that I quite appreciated, such as making a point to always offer a more succinct and straight-forward summary of what was being told upon asking for clarification; but at the same time these games are more effective at bridging the conflict and backdrop early on than Numenera is, thus making the exposition feel a lot less superfluous by extension. To exemplify: in Pillars you're introduced to the Saint's War and the meaning it has to the present day the moment you step into Gilded Vale and see the corpses hanging on the tree - as a player you are offered an immediate hook relating to a very current conflict, you're prompted to ask yourself why they're being hanged and why are you asked to move on, and the lore regarding the War, the suspicions that those being hanged aided Waidwen, the fears regarding Waiden's Legacy and so on is therefore justified as backdrop to that conflict; in Numenera you arrive to a massive town square and find this ancient soldier caught in time whose only real purpose is to stand around and explain why he's there and what happened hundreds of years ago - it's not until much later that you really connect the Eternal War to the Changing God and the Castoffs and start understanding its purpose or importance in the story. A lot of stuff in Sagus Cliffs is relevant but is introduced as flavour text and little else, making the game feel rather scattershot and indulgent early on. It's through the bottleneck at the mid point of the game that things really start falling into place and the focus feels that much clearer, and where the very Blade Runner-esque existential and humanist themes start to solidify, and from that point on I was very taken by it.
Other small tangential bits... I love the area design and music in this, quite like the setting, the characters are rather memorable and interesting, the in-dialogue mechanics are very good and probably a better attempt at this sort of roll-based system than Disco Elysium's... But the turn-based mechanics and encounter design is a very mixed bag, which can at times be quite creative (like the heist sequence somewhere in the latter half) and at others plain horrible (most instances of actual combat). You might say it's not unlike Torment in that regard, but I'd argue that Torment's combat is easier to forgive because it's never really hard or prolongued enough to really sour the experience, whereas Numenera's can frequently be frustrating and excessively dilated through the sheer number of enemies and figures given individual turns.