Considering that so much of Kane’s persona was reliant on presentation, The Undertaker also collaborated with WWE’s production team to further speed up the development of the debuting character, according to Ross. Similarly, Undertaker was instrumental in putting together gimmick matches such as The Inferno Match and The Buried Alive Match that became calling cards for Kane in subsequent years. 

“‘Taker was the guy that had the visual ideas,” Ross revealed. “[The visuals] were striking and so memorable — another booking hit for ‘Taker if nothing else. Because you can bet your ass he’s gonna be deeply involved in the creative of getting buried alive or burned alive.”

As part of the strategic booking to introduce Kane to the audiences, WWE was also extra careful in the number of matches he wrestled in his first year. Following his debut against Mankind at Survivor Series 1997, Kane did not wrestle again on television until No Way Out in February 1998 — ahead of his much-awaited clash against Undertaker at WrestleMania 14. In the lead-up to the brother vs. brother match, WWE shot an angle that saw Undertaker rise up from a coffin struck by a lightning bolt, furiously challenging Kane to a match in the process. Reflecting on the same, Ross acknowledged the importance of those visual effects in furthering the sibling story.

“It fit the Undertaker’s character,” Ross said of WWE’s use of special effects for “The Deadman.” “He’s supposed to do the unknown and the unpredictable, so it just kept fitting; creative just kept fitting. Credit to the guys involved in doing it. I’ve spoken so much about ‘Taker here, but when you’ve got a star like him, he’s got to cooperate, he’s got to be involved and invested — and he was. That’s what made this thing successful.”