 Note that creationism thus characterized earns its keep from the ‘obviousness’ of the thought that authors somehow create fictional characters through the creation of fictional works in which they appear. Language seems to support this thought: we routinely hear statements like “Hamlet is one of Shakespeare’s most complex creations”. It is on the basis of this thought that creationists then hypothesize that fictional objects literally are the creations of their authors: not concrete creations, clearly, so therefore non-concrete, abstract creations. But this move is far from innocent. Yagisawa (2001), for example, argues that creationism conflicts sharply with other seemingly obvious thoughts, for example the nonexistence datum that fictional characters like Hamlet don’t exist (for a response, see Goodman 2004). At an even more fundamental level, Brock (2010) argues that the creationist’s appeal to creation is explanatorily void, leaving more questions than answers.