Brown coal 8.2 GW dominates the left third of the scene as a cluster of massive hyperbolic cooling towers with thick white-grey steam plumes rising into the black night sky, lit from below by amber sodium lamps; natural gas 8.2 GW fills the centre-left as a pair of compact CCGT power stations with tall single exhaust stacks emitting thin heat shimmer, lit by harsh industrial floodlights; hard coal 4.4 GW appears centre-right as a coal-fired station with a large rectangular boiler house, conveyor belts, and a tall chimney with blinking red aviation lights; biomass 4.2 GW is rendered as a modest wood-chip-fed CHP plant with a corrugated metal hall and a single moderate smokestack glowing warmly from interior lighting; wind onshore 0.9 GW appears as a few distant three-blade turbines on a dark ridge, rotors barely turning, nacelle warning lights blinking red; wind offshore 1.3 GW is suggested far in the background as tiny red dots on the black horizon representing offshore turbine aviation beacons; hydro 1.8 GW is shown as a small concrete dam with water spilling through illuminated sluice gates at the far right. The sky is completely black with a deep navy undertone, no twilight, no moon visible, 93% cloud cover obscuring all stars. The atmosphere is heavy and oppressive, reflecting the high electricity price—low haze clings to the ground, light pollution from the industrial complex creates an amber-orange dome glow against the cloud base. The landscape is flat central German terrain with sparse early-spring vegetation, bare trees just beginning to bud, temperature around 12°C suggested by a faint ground mist. The air is perfectly still—no motion in smoke plumes, which rise vertically. Painted in the style of a highly detailed 19th-century German Romantic oil painting—rich impasto brushwork, deep chiaroscuro contrasts between the inky sky and the warm industrial glow, atmospheric depth receding into darkness, meticulous engineering detail on every cooling tower, turbine nacelle, and exhaust stack, evoking Caspar David Friedrich's sublime darkness merged with industrial realism. No text, no labels.