A curved candy house sits on a pastel landscape, trees open like skulls to admit entrance, and a tiny inventor prepares to test out his complicated torture device on a victim. A parade of whimsical places, fairy tales, and bizarre scenes play out in the pages of this chapter.

　　Partly from his animation background, partly because he is a natural, visual storyteller, many of Burton's singular paintings and drawings have a lively narrative contained within a single image. Inspired by Van Gogh, whose paintings he saw as capturing a force that made them feel alive, Burton has divested an intensity into his own artwork that practically lifts it off the page.

　　Both his art and films are visually delicious, from the expansive, candy-coated world of Charlie and the Chocolate Factory, to the swirling vistas in Hansel & Gretel and Frankenweenie. Other film-related art in this chapter are PEE-WEE'S BIG ADVENTURE, Edward Scissorhands, Beetlejuice, Big Fish, and concept art for The Black Cauldron.

　　Some of these strange places seem like they arise from a dream. Others draw you into a nightmare. Much of the imagery finds root in fairy tales—rich stories set in fantasy landscapes, whose dark tones hint at the truths of life. His love of inventions and mad scientists shine through these pages. For anyone who has watched his films, it's easy to see the connection—Burton is his own sort of inventor, designing the elaborate gadgetry that comes to life in his movies.

　　His art makes one want to further explore the places he creates. What happens to the boy strapped to the bed with a spiked canopy? Where does the yellow brick road really lead? It is easy to spend hours perusing his artwork, finding ourselves lost in the sweeping horizons of Burton's pen.