Looking once more at the ratios between "hard-boiled" and "melodrama" character elements as quantified in the Noir-o-Meter data, and comparing that to the "MELO RATE," which looks at this from the opposite side of the ratio and also includes all of the element types (visual and plot/screenwriting along with character elements), we can examine a large subset of the noirs made from 1940-43 and create the same type of graphic "tough-to-tender" map that we've done previously.
When we do that, we can see that these "war noirs," which, as Dan notes, have a different narrative outline and different patterns of character relationships, also have a quite divergent distribution in terms of their "noir profile" than is the case with film noir as a whole:
The pronounced skew into the lower right quadrant tells us that "war noirs" are, for the most part, independent of, and divergent from, the "hard-boiled paradigm." If such a paradigm were the case, the data skew would shift into the upper left quadrant of the chart.
But it doesn't do that. And that is visual and quantitative confirmation of the assertions Dan made in his "war noir" essay, as it appeared in Silver and Ursini's FILM NOIR READER 4.