Really? Again, the Nyx: you can theoretically blow up every single Nyx you see. Yet players consistently learn to respect it, because it can put them into a fail state.
Games are still battling to reconcile the scripted narrative with the ludic narrative. The ideal outcome is a ludonarrative reality that produces story beats entirely through its gameplay systems (much like real life!), but this is very difficult to achieve due to combinatoric challenges and our lack of strong AI. We can't produce authored content with sufficient reactivity.
If the only way to exhibit a warship's power is through tight scripting, then, ironically, the warship has no power at all. It does not exist as a ludic element; it cannot interact with the gameplay systems in a meaningful way. This isn't to deny that it's interacting with the narrative, which is fine...but it's clear to me that games should be headed towards ludonarrative integration, a tight coupling between what is said and what is played. A ship's performance in the gameplay space is meaningful narrative. If an enemy ship puts a mission into a fail state, then it has achieved its objective; that is narrative feedback from the gameplay. Discarding that feedback as somehow irrelevant is a causal error, a mistake that flattens the game into merely a linear story, a retrospective attempt to treat the success state as the only possible state - anathema to everything interesting about games.
The dogfight with Xinny and Zero is a perfect example. There, we were able to feed forward from the fail state because it didn't preclude our authored content from continuing. If we could afford to branch our story every time a Dio blew up the Indus, if there were no reversion or retry mechanisms, then players would be forced to confront the Dio as an object of dread. The Valerie would fork a lot of campaigns into a very dark place, and the Eris' strike package in Aristeia would be an urgent and overwhelming solution to an urgent and overwhelming problem.
(From another angle - the very nature of a story about war requires both sides to make moves and countermoves. The presence of a countermove does not somehow obviate the strength of the move it's reacting to. Good stories require conflict. Conflict comes from tension. Tension comes from the possibility of change.)
If this isn't how players experience game narratives then I'd challenge them to stop experiencing game narratives the wrong way. A game creates a phase space and then the player's actions help select a resolution. You can't retrospectively treat that resolution as the whole population of the phase space.