Numerous zoological identifications have been proposed for the sha, each with significant drawbacks. The saluki or greyhound theory - suggested by Egyptologist Ken Moss - notes similarities in body shape and curved snout, but fails to explain the square ears and forked tail, and dogs were not typically associated with desert chaos. The aardvark proposal (recently reargued by Pierre de Maret, 2024) fits the elongated digging snout and nocturnal desert habits, but the aardvark's ears are not square and its tail is not forked. The fennec fox theory accounts for the large ears and desert habitat, but the fennec's ears are rounded, not square-tipped, and its tail is bushy, not forked. The oryx, wild dog, jackal, hyena, donkey, and even extinct species have all been suggested, none satisfactorily.

The most likely explanation is that the sha was either a purely mythical composite creature or a deliberately stylised emblem whose incongruities were meaningful rather than accidental. The sha may have been designed to embody Set's nature as a god of disorder and otherness - a creature that deliberately defies natural taxonomy just as Set himself defies cosmic order. This interpretation is supported by the creature's consistency across three millennia of Egyptian art: if it were a real animal, one might expect more naturalistic variation; instead, the sha maintains its impossible anatomy with remarkable fidelity.

Under Greco-Roman influence, Set was syncretised with the Greek monster Typhon, and the sha became known as the Typhonian Beast. By the Ptolemaic period and into Roman Egypt, systematic damnatio memoriae campaigns led to the defacement of Set's images, including the sha. The rise of the Osiris cult progressively demonised Set, and his animal emblem suffered corresponding suppression - one reason the sha virtually disappears from official art after the first millennium BCE.