Schwemer in a more recent study argues that a confrontation between Teshub and the sea might have been the final section of the Kumarbi Cycle, in the aftermath of which his kingship was firmly established. A possible additional fragment of Song of the Sea is preserved on the tablet KBo 26.105, and relays how Kumarbi urges other deities to pay tribute to the eponymous deity after Teshub fails to defeat him, which results in a flood apparently reaching even the sun and the moon. The text breaks off after due to lack of deities willing to volunteer Šauška is selected to bring the tribute. Kumarbi is seemingly described positively in this case and acts as the counselor of the gods, similarly to how Ea does in other myths. This portrayal is considered unusual, though according to Noga Ayali-Darshan attempts to harmonize it with the more hostile role he plays in other myths, while present in scholarship, are not necessary. She argues that the myth was an adaptation of an otherwise unknown Syrian composition, and Kumarbi was placed in a positive role which originally belonged to Dagan instead, despite the difference between their respective characters. Alfonso Archi counts the myth Ea and the Beast (KUB 36.32 and KUB 36.55) among these belonging to the Kumarbi Cycle. The similarities include references to deities being placed inside someone, presumably Kumarbi, details of the accounts of the births of Aranzaḫ and Teshub, and the mention of impregnation by spittle. However, the form of the text differs, as the events are presented as a prophecy given by the eponymous beast (suppalanza) to the god Ea. It might describe the conflict between Kumarbi and Teshub and their respective allies. Ian Rutherford proposes that the events of Ea and the Beast might be placed in the cycle either directly before the Song of Emergence, with Ea learning about the events involving Kumarbi and Teshub in advance, or after it with the beast in part recounting what has already happened. He also notes that while the characterization of Ea differs, as he is apparently portrayed as ignorant despite his usual role as an epitome of wisdom, it is possible that the author intended a scene in which the beast rhetorically asks him “Don’t you know?” to parallel questions Ea himself asks Enlil and the giant Upelluri in the Song of Ullikummi. He suggests that this might further support