That isn't, and can't possibly be, a shotgun mike. The interference tube in front of the capsule of a shotgun mike has to be half a wavelength at the lowest frequency at which its pattern is supposed to get narrower. To have any beneficial effect on the intelligibility of speech pickup--the application that shotguns are mainly designed for--the tube needs to be at least 9" long or thereabouts; that's where the range of "short shotguns" begins.
The acoustical principle can't be miniaturized unless you record in a medium denser than air. Anything shorter is just window dressing, of which there's plenty in the marketplace, unfortunately. Quite a few shotguns are longer, so that the narrowing starts at lower frequencies, and so that room sound from outside a narrower angle will be reduced--though this results in a bumpier pickup pattern at any given frequency, and makes them particularly bad sounding in reverberant spaces at any distance from the sound source.
If it were possible to get a similar effect with a shorter interference tube, every manufacturer would do that, because then the user could get the capsule of the microphone closer to the talent without its appearing in the camera frame--the main task of a boom operator.
I'm pretty sure I owned one of these mikes at some point in the pre-digital past. It's nothing special. Sony electrets from this period were made for recording business meetings in an office on non-Dolby type I cassettes, not music in a large space on accurate, wide-range recording equipment. They're noisy, thin in the bass and peaky in the treble, but that used to be considered "hi-fi" by the typical business customer who bought them, apparently.