Brown coal 9.1 GW dominates the left quarter of the scene as a cluster of massive hyperbolic cooling towers rising from a sprawling lignite plant, thick white steam plumes billowing upward into the black sky; hard coal 6.1 GW appears just right of center as a large power station with tall rectangular chimneys and conveyor gantries, glowing orange from sodium floodlights on its coal yard; natural gas 6.0 GW occupies center-right as a compact CCGT facility with a pair of polished exhaust stacks emitting thin heat shimmer, lit by harsh industrial floodlights; wind onshore 16.7 GW fills the right third and stretches deep into the background as dozens of tall three-blade turbines on lattice and tubular towers, their red aviation warning lights blinking against the darkness, rotors visibly turning in moderate wind; wind offshore 6.4 GW is suggested in the far-right background as a faint line of turbine warning lights on the distant horizon beyond a dark coastline; biomass 4.0 GW appears as a modest wood-chip-fired plant with a single squat smokestack and a warm amber glow from its furnace hall, nestled between the coal station and the wind turbines; hydro 1.1 GW is a small run-of-river station at a dark river in the foreground, water glinting faintly under a single floodlight. The scene is set at 4 AM under a completely dark, deep-navy-to-black sky with 85% cloud cover — no stars, no moon, no twilight whatsoever; all illumination comes from industrial sodium-vapor streetlights casting orange pools, facility floodlights, and the red and white safety beacons on stacks and turbines. The temperature is near freezing: thin frost coats railings and bare tree branches in the foreground; patches of dormant late-winter grass and leafless birch trees frame the lower edge. The atmosphere feels heavy and oppressive — dense low clouds trapping the industrial glow — reflecting the high electricity price. Rendered as a highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters such as Caspar David Friedrich, with rich dark tones, visible impasto brushwork, atmospheric depth through layered fog and steam, and meticulous engineering accuracy on every turbine nacelle, cooling tower shell, and exhaust stack. No text, no labels.