She also developed connection with other underworld deities from neighboring cultures, such as Mesopotamian Ereshkigal (who eventually came to be equated with her), Anatolian Sun goddess of the Earth and Lelwani, and possibly Ugaritic Arsay.

[5] In 1980 Wilfred G. Lambert proposed that Allatum, who he understood as the same deity as Ereshkigal in origin, was the feminine counterpart, and possibly wife, of a minor Mesopotamian god associated with the underworld, Alla.

[28] Instructions for the ḫišuwa [de] festival mention the clothing of statues representing Allani and Išḫara, with the former receiving a blue garment and the latter an identical red one.

[29] Veneration of them as a pair was an example of a broader phenomenon frequently attested in Hurrian sources, the worship of pairs of deities with similar purposes as if they constituted an unirty, with other examples including Šauška's attendants Ninatta and Kulitta, the fate goddesses Hutena and Hutellura, Ḫepat and her son Šarruma,[30] and the astral deities Pinikir and DINGIR.GE6, so-called Goddess of the Night.

[27] Another text belonging to this genre from the same period identifies Allatum both with Ereshkigal and with the term Irkalla, in this context prefaced by the so-called "divine determinative" and thus treated as a theonym rather than as a place name.

[41] This word is best attested as a name of the underworld in literary texts, and might represent an Akkadian rendering of Sumerian urugal (variant: erigal),[42] "great city", similarly designating the land of the dead.

[15] Piotr Taracha [de] instead classifies her as a Luwian deity and notes that despite her connection to the underworld her character might have been comparable to that of the Ugaritic goddess Shapash prior to being reshaped by the development of an association with Allani under Hurrian cultural influence.

[49] Under her Mesopotamian name Allatum Allani came to be linked with Lelwani, originally a male god from the Hattian pantheon, who started to be viewed as a goddess due to this equation, as already attested in sources dated to the reign of Hittite king Ḫattušili III.

[50] Piotr Taracha argues that Lelwani's name was effectively reassigned to Allatum, who he assumes was venerated as a separate figure from Allani in Anatolia.

[39] It is possible that in Ugarit Arsay, one of the daughters of the local weather god Baal, was viewed as the equivalent of Allani (Allatum), and like her she might have been a deity linked to the underworld.

[52] However, Steve A. Wiggins stresses that it is important to maintain caution when attempting to define the roles of poorly attested Ugaritic deities, such as Baal's daughters, entirely based on the character of their presumed equivalents.

[56] It is uncertain which city was considered Allani's main cult center, as documents from the Ur III period seemingly connect her with Zimudar located in the Diyala area, but in Hittite sources she is instead associated with Ḫaššum, possibly to be identified with Ḫašuanu from the Ebla texts.

[59] In the text RS 24.261, which contains instructions for a ritual focused on Ashtart and Šauška, written in both Ugaritic and Hurrian,[60] she is mentioned in a list of deities who received offerings during it, after Išḫara and before Nikkal.

[70][d] During the seventh day of the festival of Inanna which took place annually during the sixth month in the local calendar she also received offerings alongside Idlurugu, a god who represented river ordeal.

[74] It occurs in a lawsuit dated to the reign of Sabium, and the goddess is otherwise not attested in any sources from this city, which indicates her cult had a small scope and might have not been maintained in later periods.

[5] During the ḫišuwa [de] festival, which was introduced from Kizzuwatna by queen Puduḫepa and was meant to guarantee good fortune for the royal couple Allani appears alongside "Teshub Manuzi," Lelluri, Išḫara, two hypostases of Nupatik (pibitḫi - "of Pibid(a)" and zalmatḫi - "of Zalman(a)/Zalmat") and Maliya.

[82] In Yazılıkaya, a sanctuary located close to Hattusa and tied to the Hurrian-influenced religious practice of the royal family,[83] Allani (Allatum) is depicted in a procession of goddesses reflecting the order of the kaluti [de] of Ḫepat, with the two following figures being Išḫara and Nabarbi.

[86] The former at one point descends to the underworld and partakes in a banquet held by Allani alongside his enemies, the "former gods" whose defeat is described in the cycle of Kumarbi, but much of the rest of the narrative is missing and both its conclusion and purpose are uncertain.

[87] Volkert Haas suggests that the underworld banquet should be understood as an episode comparable to the Mesopotamian myth of Inanna's descent to the netherworld, with Teshub temporarily imprisoned in the land of the dead.

[88] This interpretation has been critically evaluated by Ewa von Dassow, who points out that Haas did not depend on the text itself, as no reference to the weather god being imprisoned in it, and in his publications instead offered indirect evidence from unrelated compositions such as the aforementioned Mesopotamian myth or Ovid's Metamorphoses.

[89] She instead suggests that the meeting is focused on discussing the destruction of Ebla, around which much of the plot of the composition revolves, as it would inevitably lead to an influx of new inhabitants into Allani's realm.

[91] Mary R. Bachvarova assumes that the meeting with Allani is related to the fact that the humans Teshub is concerned with in other sections of the myth are meant to care for funerary rites.