Patrick Kyle's Don't Come in Here is a haunted house story, which follows an unnamed protagonist trying to live peacefully in a supernatural apartment that is constantly disrupting him — both psychologically and physically.

The Toronto illustrator is known for his unconventional, avant-garde style of comics, and describes this book as his most mature and readable work yet. In his own words, Patrick describes the creation of Don't Come in Here.

"I knew I wanted to do something a little more succinct. My two previous books were collections of mini comics, so they were made in bursts and published as individual issues. I wanted to make something that was a completed book — a full narrative from start to finish. When I started planning this book, I had just quit my part-time job and was starting to find my footing as an illustrator. With that new freedom, I found myself just hanging out in my apartment a lot, just rambling around and staying up super late and being alone a lot. I was feeling kind of stressed out and crazy and had limited social interaction because working on comics takes a lot of time and is a solitary activity. All the ideas were generated from that experience, being trapped in my own head a bit.

"Sometimes when you do things like this, it sort of replaces your own memories of what your apartment was actually like. My girlfriend and I moved out of an apartment a few years ago, but it was definitely the inspiration for this book. Now, instead of recalling certain instances, I recall instances from this book. A certain event that inspired something that went into this book has kind of been deleted by the book."

"The internet is full of distraction. Anyone could be reading my book in one hand and have their phone in the other and be totally distracted in the same way. I like that the book is an object that you can sit with, you're not distracted by advertising and there isn't a GIF of a funny dog jumping above it. It's not bracketed by other information. It's just its own thing. And you can spend as much time as you like with it. You can speed through them pretty quickly or you can dwell on any section as long as you like. I think that's exciting and fun.

"Growing up with the internet, I love the immediacy of doing something and seeing it in a published way immediately. So some of the stuff from this book I published online initially and that was great and I loved seeing the feedback from people. I don't think I could just sit with something for so long without putting it out. I like quantity over quality, in some way."

"I always set out to make comics. I never really set out to be an avant-garde artist. That was never my intention. When I was in university and as I read more and more comics, I was just interested in having a distinct approach. I don't know if I want to call myself an avant-garde artist because it's maybe a little audacious or something, but I like abstract work. I like things that don't hold a reader's hand. I like things that are engaging and don't put all the information out there where people can read them and come to their own conclusions. Audience interpretation is exciting to me.

"Someone could read it and think, I have no idea what that was. I'm sure a lot of people will read it and think that and that was maybe kind of the point."

"I designed this book really specifically and really carefully so it would be a perfect readable book. Everything is really airy and spaced out. It's more digestible and more readable. I wanted it to be a cheap paperback and I wanted it to be on cheap paper. It was just another part of the accessibility of it. I feel like my last two books, people picked them up and said, 'Wow this is a beautiful cover.' Then they flip through a few pages and think, 'This is definitely not for me.' So I wanted this to be immediately relatable. It's kind of like a manga volume, just a paperback novel. It feels nice. It's got a nice tactile feel in your hand."