This drama is depicted on at least two other seals from the ancient Indus metropolis. In other scenes from Harappa, this is a female deity standing on an elephant with a spoked wheel sign above her head (see Deity Strangling Tigers Tablet). Asko Parpola writes: "The 'contest' motif is one of the most convincing and widely accepted parallels between Harappan and Near Eastern glyptic art. A considerable number of Harappan seals depict a manly hero, each hand grasping a tiger by the throat. In Mesopotamian art, the fight with lions and / or bulls is the most popular motif.

There are some seals with clear Indus themes among Dept. of Near Eastern Antiquities collections at the Louvre in Paris, France, among them the Cylinder Seal of Ibni-Sharrum, described as "one of the most striking examples of the perfection attained by carvers in the Agade period [2350–2170 BCE].

None of the many proposed decipherments of the ancient Indus script by many different scholars since the late 1920's is widely accepted. But there are good ideas, and many of them are from Iravatham Mahadevan in Chennai, India's most important scholar of the Indus script. Here he proposes readings of some the most common Indus signs, including the three "functionaries," part of a set of signs, one of which combines the terminal "jar" sign, the most frequent Indus sign, for which Mahadevan also proposes a reading.

An article in The Verge discusses efforts by scientists at the Tata Institute of Fundamental Research and others to use algorithmic analysis to decipher the ancient Indus script.