TiNe l-l-

TiNe l-l- Adaptive Male


Now what we see here with Ti+Si Miyazaki is very interesting. We see all the same rigidity, reservation, and poised containment characteristic of the l— types, but with a lack of floaty ethereal energy. Instead we see the imprint of a settled Senex energy atop of that Ji composure. While he remains still most of the time, his movements carry a Pi viscosity to them and are fighting to re-ground themselves. Here are a few GIFs showing this effect:

Ti Default Core

Ti+Si Inertia

Notice the tempo with which the arms fall back down. It follows the same rhythm we see in Carl Jung and other Pi types, except the rendezvous point is a Ji Tower. Now Miyazaki does have some Je gestures here and there, but it is nowhere near conscious levels. This sample makes a bit more sense when contrasted against the l-ll samples further down below.

As far as his Fe’s attitude goes, we see –like with Gage– an agreeable energy, a responsiveness/adaptiveness to the audience and many placid smiles.


Those who know Miyazaki personally know he’s an obsessive Ji perfectionist, very meticulous with his craft and picky about specifics. He is known to have a very slow production time in comparison to other filmmakers because of how keen he is in making his stories feel aligned to his original vision. His personal aim in his animation is to capture the real moments of life (the qualia of it) in narrative form (Si) properly. And the success of his films is in large part due to this signature approach, which adds a level of relatability to otherwise fictional characters that other producers don’t have. For example, he actually bases children characters in his movies off of the daughters of his friends or loved ones, including the facial expressions they make.

This shows a combination of Ti precision/delicacy and Si precedent/narrative/atmosphere, all the while… painted into a fantastical Ne dream world with the goal of teaching some moral lesson about connection.