Brown coal 10.4 GW dominates the left third of the scene as a cluster of massive hyperbolic cooling towers with thick white steam plumes rising into the black sky; hard coal 4.6 GW appears as a smaller set of industrial stacks with reddish furnace glow behind the brown coal complex; natural gas 3.0 GW sits centre-left as compact CCGT units with single tall exhaust stacks emitting thin vapour; wind onshore 9.2 GW spans the centre and right as dozens of three-blade turbines on lattice and tubular towers scattered across rolling hills, their rotors barely moving in the near-still air; wind offshore 2.2 GW appears in the far right background as a row of turbines on the dark horizon over a faintly visible sea; biomass 3.3 GW is rendered as a medium-sized industrial plant with a wood-chip silo and modest smokestack near centre-right; hydro 0.8 GW is a small dam structure with spillway barely visible in the far background. Time is 04:00 at night — the sky is completely black with no twilight, no glow on the horizon, a dense 97% overcast hiding all stars, creating a heavy oppressive ceiling reflecting the 152 EUR/MWh price. The only light sources are sodium-orange streetlights along access roads, the dull red glow from coal furnace windows, blinking red aviation lights atop wind turbine nacelles, and faint white LED security lighting on industrial buildings. No solar panels visible anywhere — it is deep night. The September landscape shows late-summer deciduous trees with full dark foliage, barely discernible. Temperature is mild at 15°C — no frost, slight ground mist drifting between the cooling towers. The atmosphere is heavy, humid, brooding. Style: highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — rich dark palette of deep navy, coal-black, furnace orange, and sodium amber — visible impasto brushwork — atmospheric depth with industrial haze — meticulous engineering detail on each turbine nacelle, cooling tower concrete texture, and CCGT exhaust stack — the scene feels like a masterwork nocturnal industrial landscape by a successor to Caspar David Friedrich. No text, no labels.