Wind onshore 12.2 GW dominates the right half of the scene as dozens of three-blade turbines on tall lattice and tubular towers stretching across rolling hills into the distance, rotors visibly turning in moderate wind; wind offshore 4.4 GW appears as a cluster of larger turbines on the far-right horizon above a sliver of dark sea. Brown coal 8.2 GW occupies the left quarter as a massive lignite power station with four hyperbolic cooling towers emitting thick white-grey steam plumes rising into blackness. Natural gas 5.4 GW sits left of centre as two compact CCGT blocks with slim exhaust stacks venting thin heat shimmer. Hard coal 4.0 GW appears as a smaller coal-fired plant behind the gas units, with a single large chimney and a conveyor belt silhouette. Biomass 4.1 GW is rendered as a mid-ground industrial facility with a timber-framed fuel store and a squat boiler stack glowing faintly orange inside. Hydro 1.3 GW is a small run-of-river weir in the lower foreground with white water cascading over concrete. No solar panels anywhere — zero solar generation. Time is 04:00 at night: the sky is completely black with no twilight, no moon, heavy 100% overcast clouds faintly lit from below by sodium-orange industrial lighting. Temperature 12°C in late May: lush green spring vegetation on hills barely visible in artificial light, damp grass glistening. The atmosphere is heavy and oppressive, reflecting the high electricity price — low clouds press down on the cooling tower plumes, haze hangs between the facilities. Sodium streetlights along a road in the foreground cast amber pools. Lit windows in a distant village hint at sleeping demand. Style: highly detailed oil painting in the tradition of 19th-century German Romantic landscape masters — rich, dark palette of indigo, charcoal, amber, and cream; visible confident brushwork; deep atmospheric perspective; meticulous engineering accuracy on turbine nacelles, three-blade rotors, cooling tower parabolic curves, CCGT exhaust geometry. The scene evokes Caspar David Friedrich's sense of sublime scale, but applied to an industrial nocturne. No text, no labels.