One of the big problems with the ending is it is the final experience you will have of the game.
In some ways, it will define how the game is remembered as an overall experience despite how good the journey is. While some people are happy with it, at least an equal number have also responded with 'Meh' or similar less than impressive comments. In other words, when so much of your target audience respond less than favourably, then you've got problems.
Another issue with having an ending of this nature is the game is all about overcoming adversity of an extreme nature. The final Objective here being, the Player escapes from the situation and has completely fulfilled the goals set before them. As it stands, the ending we are presented with allows for neither of these to be rewarding. There is no reward in having your character blown out the air lock and left hanging in space for a cliff hanger after the harrowing experiences offered in this game. It's a bad way to close off a narrative that is otherwise constantly placing the Player on the edge of their seat.
Which means this isn't an ending - it's a cop out. There is a difference.
It's a self serving conclusion that solely latches onto the game's title to emphasise the nature of Amanda's 'isolation'. Beyond that, it serves no constructive narrative purpose other than leave open questions - and way too many of them - and none of them really worth investigating beyond Amanda's successful search to find out what happened to her mother. She has achieved her closure, sure, but the story exists beyond that revelation. Where is ours as a player that has shared her path when the game finally ends? There is none.
The game should have ended by having Amanda walk through the door to the Torrens bridge and be greeted by Verlaine in a brief cutscene. It could even just be audio dialog delivered from behind a closing door that separates us from the scene. This is the point we want to be removed from the character in a constructive way. Amanda could approach Verlaine in an exhausted and drained state, panting out "I did it, Verlaine. I did it..." Verlaine could respond in kind with "I know, Amanda. I understand what you had to do. I think it's time you took a break and sat down for a while. I'll look after things from here." Verlaine could then turn to face her co-pilot and says "Conner, plot a course for Earth. I think it's time we checked out that new orbital Gateway station that just opened recently." This could even be dialogue while we view an exterior shot of the Torrens moving away from the camera, thus conveying to the player several things:
Firstly, the game is over. We are done; and so is our relationshiip with Amada and our involvement in her journey is also brought to a comprehensive.
Secondly, from a narrative standpoint, by having the ship move away from the camera we are now comfortably being removed from the events of the game. Which we really need. The pull back of the camera is a common method cinema uses to end stories. It's very effective at telling the player/audience that the events depicted in the production are now over. Your involvement in the story does not go beyond this point. The viewer is gently eased out of the harrowing experience that is now over they are rewarded with a meaningful cutscene that is going to define how they remember the game. Then fade to black and roll credits.
That's how you do an ending for a game like this - without clumsy and abrasive ambiguity that serves no greater purpose than servicing a lame pun.
If you really want to lead into a shock ending from this point, Hell, that's a no brainer. As the ship pulls away from the camera, just have a single Alien attached to the aft area of the ship, curled up at the base of the engine cowlings. A shock ending can be as subtle as that and still carry a lot of potential for implication that can be explored or ignored in a later sequel. ...if there is one.
-Windebieste.
