Wind onshore 12.1 GW dominates the right half of the scene as dozens of three-blade turbines on lattice towers stretching across a flat, frost-dusted North German plain, rotors turning slowly; brown coal 6.7 GW occupies the left background as a cluster of massive hyperbolic cooling towers emitting thick white steam plumes lit from below by sodium-orange industrial lamps; natural gas 7.2 GW fills the centre-left as a row of compact CCGT plants with tall single exhaust stacks releasing thin heat shimmer; hard coal 3.9 GW appears as a smaller coal-fired station with a single rectangular boiler house and stockpiled dark fuel visible under floodlights; biomass 4.2 GW is rendered as a modest wood-chip-fed CHP facility with a conical silo and low chimney emitting faint smoke, positioned centre-right; hydro 1.4 GW is a small run-of-river weir with illuminated spillway in the foreground stream; wind offshore 0.8 GW is suggested by distant turbine silhouettes barely visible on the far horizon. Time is 1:00 AM — the sky is completely black with a scattering of cold white stars and a thin crescent moon casting almost no light; there is no twilight, no sky glow, no dawn. All structures are lit solely by sodium streetlights, orange industrial security lighting, and glowing control-room windows. The atmosphere is heavy and oppressive, with low haze drifting across the scene, evoking the high electricity price. The ground shows early spring — bare deciduous trees, dormant brown grass touched by light frost at 4.2 °C, no snow. Clear sky with zero cloud cover allows stars to be visible above the industrial haze. Style: highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — rich, dark palette of deep navy, burnt sienna, and warm amber; visible impasto brushwork; atmospheric depth with layers of mist between the viewer and the distant cooling towers; meticulous engineering accuracy on every turbine nacelle, three-blade rotor, aluminium vent, and concrete tower. The painting evokes Caspar David Friedrich's sense of sublime scale, applied to an industrial nocturne. No text, no labels.