SAMAS said:
Because fighting Ridley ain't the traumatic part. Remember, this is after Super Metroid, in which Samus lost both the Hatchling she had come to care for (the entire reason she came back there), and her second childhood home, possibly all in the space of a single day.
If they'd actually pushed the effects of the loss of the hatchling as the driving element of Samus' character development in this instalment, that would have been a good way to add depth to the character and show the emotional effects of what she's been through.
Except, y'know, that's
not the driving force of the narrative, her relationship with Adam is. So all of this is poorly integrated within it's own plot, as well as inconsistent with previous characterisation.
And, of course, even if they'd tried it the ineptitude of the writing and acting would have killed it. Hell, even with the current plot decent actual scriptwriting, understanding of narrative construction (not only the forgotten Deleter plot thread, but most of what was actually going on on the Bottle Ship is given to you in an infodump
after the last boss.), and not cheaping out on a first time voice actress without a decent voice director to actually make sure the performance was tolerable.
Of course, the abilities unlocking when you're told they can be, rather than by finding them like in a proper metroid game, and the inconsistency with why they are locked in the first place (the stated reason is to prevent civilian casualties, but in that case
why is the Varia Suit locked, it's a HEP suit, it's not a weapon in the slightest, and the way the game locks you into a fixed path with little to no freedom of motion, also unlike proper metroid games (even Fusion gives you freedom to backtrack and move around to some extent, even if it otherwise leads you around rather than just dumping you in the world and letting you get on with it) would still have been a kick in the face to anyone who wanted an actual Metroid game with their badly written and performed cutscenes.