Intro: As established earlier, Shizune and Misha align with Social Influence Theory, which argues that relationships develop as a result of change in belief, attitude, or behavior caused by another person’s actions. Power is the potential to produce that change.
SHIZUNE / MISHA (SOCIAL INFLUENCE THEORY):
Shizune represents coercive and structural force.
Misha represents legitimacy and normative reinforcement.
On Festivals / Life (Misha translating for Shizune):
"Human beings evolve with each new generation! The ideals and beliefs behind a festival will inevitably change with time! Now, it's about delicious fried food and amusing little games that you play to win prizes! Hahahaha!"
This statement reframes tradition as adaptive behavior. Festivals are not sacred constants; they are evolving systems shaped by participation.
That mirrors Shizune’s approach to relationships and institutions:
- Meaning follows engagement.
- Structure sustains participation.
- Ideals shift, but activity remains.
Misha’s enthusiastic delivery normalizes the philosophy. Shizune supplies the framework; Misha supplies social accessibility.
On Decision Making (Shizune):
"We are going to play for it... The oldest game known to man, upon which the fate of nations has been known to rest: Rock, Paper, Scissors."
For Shizune, decisions are rarely casual. Even minor disagreements are formalized into competitive systems.
Rock, Paper, Scissors functions as:
- A procedural equalizer
- A depersonalized method of conflict resolution
- A ritualized distribution of power
This preference for structured competition extends beyond isolated scenes.
Shizune:
- Has mastered snapping loudly despite being deaf; an intentional physical assertion of presence and control over attention. She has one of the “loudest” characters act as voice (Misha).
- Prefers strategic board games such as Risk, where territorial dominance and calculated expansion determine success.
- Turns even leisure activities, like a fishing trip, into competitive metrics of performance.
Competition is not incidental to her personality; it is her communication mode. Rather than negotiate emotionally, she negotiates through systems. Influence becomes measurable: who wins, who adapts, who participates.
In Social Power terms, this reflects:
- Legitimate power (Student Council authority)
- Coercive power (pressure through structured expectation)
- Reward power (approval, inclusion, status)
The snapping is particularly notable. Despite being deaf, she ensures auditory impact. That act demonstrates that influence is not diminished by disability. She asserts control over the communicative environment in ways that compensate rather than retreat.
On Friendship (Shizune):
"I forgot that the whole time, Misha was there, opening up to me, and giving a hundred percent everyday. I missed what I was looking for, because it was in plain sight."
This line identifies the limits of influence when it is overly systematized.
Misha’s role is relational reinforcement:
- She softens directives.
- She amplifies enthusiasm.
- She legitimizes participation socially.
Where Shizune creates structure, Misha creates atmosphere.
From a Social Influence perspective, Misha embodies referent power, which is compliance gained through warmth and identification. Her legitimacy makes Shizune’s more coercive directives sustainable.
When Shizune overlooks that relational labor, it highlights a distinction:
Influencing behavior is not the same as recognizing contribution (participation; creating a rift).
On Friendship (General):
"The world would be a different place without you or me but who else would realize it?"
This line reinforces a central concept of Social Influence Theory: influence is often incremental and unnoticed in real time.
Daily behavioral adjustments accumulate:
- Schedules change.
- Habits shift.
- Expectations recalibrate.
In the good ending, we have increased participation and contribution from Shizune and Misha through Hisao.
Shizune alters environments and structures.
Misha alters tone and perception.
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