Brown coal 8.6 GW dominates the left third of the scene as a cluster of massive hyperbolic cooling towers with thick white-grey steam plumes rising into a black overcast sky, their bases lit by orange sodium lamps; natural gas 7.3 GW fills the centre-left as a row of compact CCGT power plants with tall single exhaust stacks emitting thin vapour, illuminated by harsh industrial floodlights; hard coal 4.4 GW appears centre-right as a gritty coal-fired station with a tall brick chimney and conveyor belts, lit from below by amber spotlights; wind onshore 5.8 GW occupies the right quarter as a scattered line of tall three-blade turbines on rolling hills, their red aviation warning lights blinking faintly, rotors turning very slowly in negligible wind; wind offshore 2.4 GW is suggested by distant turbine silhouettes on a dark horizon beyond a sliver of dark water; biomass 4.2 GW is rendered as a mid-ground wood-chip-fed power station with a modest smokestack and a wood-pellet storage dome, warmly lit; hydro 1.4 GW appears as a small dam and powerhouse nestled in a valley at far right, with water faintly reflecting industrial light. The sky is completely dark, 2 AM, no twilight, no stars visible through 100% cloud cover — a deep oppressive navy-black ceiling pressing down, conveying the high electricity price. The season is early spring: bare branches with the first tiny buds, patches of wet grass, 7.7°C chill suggested by mist clinging to the ground. The air feels heavy and still. All rendered as a highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — rich, moody colour with visible impasto brushwork, dramatic chiaroscuro between the glowing industrial facilities and the surrounding darkness, atmospheric depth achieved through layered fog and receding planes. Meticulous engineering detail on every technology: turbine nacelles and lattice towers, cooling tower ribbed concrete, CCGT turbine housings. No text, no labels.