(leaning back in my armchair...)
I think the complaint that "Scenery is boring" can be approached from two angles: the author and the player. As an author, "Scenery is boring" might refer to exactly what Lumin means... the sense of drudgery that accompanies the obligation of writing out "every little thing mentioned." I think the solution for this is to write deliberately. Mention what you need, what is exciting or important to a scene, etc., and avoid cluttering up your descriptions with the mundane. A stylistic choice; certainly not every author will or even wants to write that way. It might also be mentioned that this is a formal problem, not one encountered outside of standard parser-based IF-- authoring with Twine, for example, sidesteps the "scenery problem" completely. There's no reason an ADRIFT game might not offer similar restrictions on input... I did something like that with the demo for "Clod's Quest" back in the day.
As a player, "Scenery is boring" can mean a game is underimplemented. It might also be that there is a lot of implementation, but that very little of it is meaningful, that its descriptions are underwhelming or uninformative. Bland, "catalog," purely dimensional ("approximately 2 cm"), or encyclopedic descriptions (perhaps swiped from Wikipedia) often come across as tonal non-sequiturs and can ruin the atmosphere of a game. So the problem for the author here is, I think again, to write selectively if not interestingly. If it adds nothing to a game to mention a thing, perhaps it needn't be mentioned. On the other hand, if it must be mentioned, one might focus on the reasons why it must be mentioned in the description rather than say "It's just a chair" or anything like that.
All that said, an effective way to keep players from trying to chase down levels of description is to limit your use of nouns in descriptions (and be careful of or ready to jot out another quick description when using adjectives that suggest nouns, e.g. "scaly"). If you describe a candy bar as "Chock full o' almonds and yummy nougat," a player might try to check out almonds or nougat. If, on the other hand, you say, "Sure looks yummy!" you still manage to convey intention (eating) without worrying anybody over secondary descriptions. Emily Short's Counterfeit Monkey
plays really well with this concept, and the more recent Spring Thing game Toby's Nose
does a lot with this, too, as a way of offering progress and roadblocks to a player's investigation.