To create a unique atmosphere for his Gotham City, Timm’s team drew all of Gotham on black paper. Traditionally, animators use white, allowing for light to flourish somewhat naturally. That Mr. Timm and company tried, for the first time, black paper was revolutionary in terms of technology and art, but also quite successful. Even the cleanest corners of Gotham possess a brooding darkness, perfect for the entrance of a Dark Knight.“There was an architectural visionary named Hugh Ferris, who did these elaborate, futuristic cityscape architectural renderings,” Mr. Timm explains. “They were just gorgeous—these massive deco buildings rendered very moodily. That was one of our prime influences on the look of Batman: The Animated Series.“ One of the most innovative things the Batman: The Animated Series did, in its first feature animated movie, The Mask of the Phantasm, was an opening, computer generated at the very beginning of the use of CGI in any film, of a camera slowly making its way in reverse through the Gotham skyline as the magisterial music of the tragically unsung but brilliant composer Shirley Walker plays. Walker’s soundtrack employs music from the late classical to early romantic period while incorporating faux medieval chant. As bizarre as this combination sounds, it works beautifully, especially as the camera crosses the Gotham City skyline. Nothing in the comics or the movies made, before or after, has done so much to demonstrate the sheer and inhumane scope and scale of Gotham.
— Read on theimaginativeconservative.org/2019/05/americas-urban-nightmare-gotham-city-bradley-birzer.html