My Rating System

I use a 10-point scale with decimals for precision, but the tier labels follow whole-number ranges. A 7.99 is still Great, not Excellent. The scale is deliberately harsh: it works less like a straight line and more like a ladder, where each step has to represent a real jump in quality. A score only moves into the next tier when it genuinely earns that place, which is why a work can come very close to the next number without actually crossing into it.

That is also why something I may have liked quite a bit, such as Big Fish and Begonia, can still end up with a score like [ 6.5 — Good ] . The score is not a denial of quality. It simply means that, under this system, the upper tiers are reserved for works that do something far more exceptional.

Five is the baseline. It is the point where a work stops being a waste of time, but does not yet become especially rewarding. Anything above 5 is better than boredom. Anything below 5 is, quite simply, something I would rather be bored than watch. Once a work drops under that line, the question is no longer how close it gets to being good, but how far it falls into actively unpleasant territory.

In practice, most mainstream works I would call “good” end up around 6.0 to 6.2 on my scale. That is because 6 is not a trivial upgrade from 5, and 7 is not just a slightly nicer 6. Each tier has to justify itself.

Tier Labels

  • 1 — Trash
  • 2 — Bad
  • 3 — Weak
  • 4 — Mid
  • 5 — Decent
  • 6 — Good
  • 7 — Great
  • 8 — Excellent
  • 9 — Masterpiece
  • 10 — Transcendent

Explanation Of Each Tier

1 — Trash

This is the lowest tier. A 1 is not merely bad; it is actively awful in a way that makes the experience painful, frustrating, or insulting to sit through. It may fail at nearly every level, whether through execution, writing, pacing, visuals, or basic coherence. It is the kind of work that feels like a waste of time on a fundamental level.

2 — Bad

A 2 is still clearly poor, but not necessarily catastrophic. It has serious flaws that dominate the experience and make it difficult to enjoy, but it may still contain a few isolated elements that are not completely worthless. The work fails badly overall, even if it occasionally shows signs of structure or intent.

3 — Weak

A 3 is noticeably below acceptable quality, but it is not total failure. It has enough going for it to avoid the absolute bottom, yet the flaws outweigh the strengths by a wide margin. It may be technically functional, but it lacks impact, confidence, or consistency.

4 — Mid

A 4 sits below the neutral point, but it is not disastrous. It is the tier for works that are mostly forgettable, underwhelming, or not worth prioritizing. They do not necessarily offend or collapse, but they do not justify the time spent on them. A 4 is the kind of work I would generally rather skip.

5 — Decent

This is the base ranking. Five is the neutral point of the scale. It is the line between “not worth my time” and “worth watching at least to some degree.” A 5 is neither especially impressive nor especially disappointing. It is simply competent enough to exist without leaning strongly toward boredom or admiration.

6 — Good

A 6 is clearly above the baseline. It is a work that provides real value and is meaningfully better than something merely decent. It may still have obvious flaws, but the overall experience is positive. In practical terms, this is where many mainstream works land on my scale when they are solid but not exceptional.

7 — Great

A 7 is a work that stands out. It has noticeable quality and enough strength to leave a real impression, even if it does not break into the highest tier. A 7 usually has something distinctly effective about it: a strong concept, memorable execution, emotional weight, or a particularly satisfying atmosphere. It is clearly more than just “good.”

8 — Excellent

An 8 is not just very good. It is a work with a distinct identity of its own. It stands out through its story, tone, visuals, atmosphere, or overall feeling in a way that is hard to ignore. This is where a work becomes genuinely memorable and begins to feel special rather than simply successful.

9 — Masterpiece

A 9 is reserved for works that are exceptional on their own terms. These are stories or experiences that feel fully realized and deeply confident in what they are trying to be. Their strengths are so overwhelming that they rise far above ordinary praise. Even if they are not flawless, they are powerful enough that their imperfections barely matter.

10 — Transcendent

A 10 is the rarest score. It is not just the best version of something; it is something that goes beyond ordinary evaluation. A 10 is reserved for works that fundamentally change how I think, feel, or understand myself and others. It stays with me for years and keeps resurfacing long after it ends. It is not just admired. It leaves a lasting mark.

A good way to summarize the system is this: 5 is the baseline, 6 and 7 are increasingly strong forms of quality, and 8 through 10 are reserved for works that become genuinely memorable, exceptional, or transformative. Because the scale is logarithmic rather than numeric, every step up requires a major jump in impact, not just a small improvement.