Wind onshore 17.5 GW dominates the right half of the composition as dozens of three-blade turbines on tall lattice towers stretching across rolling hills into the deep distance, blades slowly turning; wind offshore 3.9 GW appears as a cluster of turbines on the far-right horizon over a dark sea glimpsed through a valley; brown coal 7.2 GW occupies the left quarter as three massive hyperbolic cooling towers emitting thick white-grey steam plumes lit from below by sodium-orange industrial lights; hard coal 2.3 GW sits beside them as a smaller coal plant with a single stack and conveyor belts visible; natural gas 3.6 GW appears as a compact CCGT facility in the left-centre with a tall exhaust stack and a modest heat shimmer; biomass 3.7 GW is rendered as a mid-ground wood-chip-fed power station with a rounded dome and small chimney glowing warmly; hydro 1.7 GW appears as a concrete dam with spillway in the centre-left middle distance, faintly illuminated. Time is 4 AM — the sky is completely dark, deep navy-black, no twilight, no sky glow, fully overcast with thick cloud blanket blocking all stars. The only illumination comes from sodium streetlights casting amber pools, red aviation warning lights blinking atop turbine nacelles and cooling towers, and the warm industrial glow of plant windows. The atmosphere feels heavy and oppressive, reflecting the high electricity price — dense humid air, low visibility, a brooding weight pressing down. Temperature is mild at 14°C; lush early-summer vegetation — tall grasses, leafy deciduous trees — is barely visible in the ambient industrial light. Painted in the style of a highly detailed 19th-century German Romantic oil painting — rich, dark palette of indigo, umber, and amber, visible impasto brushwork, dramatic chiaroscuro, atmospheric depth with industrial haze — yet every turbine nacelle, every cooling tower's parabolic curve, every CCGT exhaust stack is rendered with meticulous engineering accuracy. No text, no labels.