The first thing I’d do is let the broken clock become the skeleton, the ghost already etched in the margin. I’d take that loop and exaggerate its curves, so it ripples like a tired heartbeat. Then I’d bleed the ink in black, but push a little silver or charcoal along the edges, like an echo from the past. I’d overlay faint, translucent glyphs of dates and faded letters, so the ghost watches the present but never fully registers it. Finally, I’d add a touch of blue‑green smudge in the background, making the whole thing feel like a dream that keeps circling back to that broken moment.