Cornelius survives by taking advantage of the parasites on the Shark's skin, and the Shark, despite his explicit belief that "the only reason for a creature's existence is to be eaten by another," leaves Cornelius uneaten to benefit from his care. Phlegmatic yet compassionate, he occasionally tries to save some fish from the Shark's relentless feasts, without much success. However, what he manages very successfully is to mock the voracious beast.

Sarcasm and carnivory explode on every page of the album, like depth charges. A seabed with old shipwrecks, sunken ruins, vibrant flora, and its edible fauna. Alongside, the deeply philosophical humor of Arkas diffuses. Cornelius epitomizes the "honest man," whom Dostoevsky deemed forced to become "cowardly and enslaved," as well as Hegel's notion of the "unhappy consciousness" or the indistinct differences between "I-You," as highlighted by Martin Buber.

To serve means to follow the lifestyle and mindset of the one being served. In Cornelius's case, the opposite is true: following the Shark (on his paths) does not mean serving his callousness. Therein lies the strength of his submission. The strength of someone who bears responsibilities without having authority, against someone who has authority without taking on responsibilities.

From the introduction by Petros Martinidis

• The Prophet
• Napoleon and Asimina
• The Lifetimer
• Low Flights
• Life After
• Castrato