On the Miyajima website there is some useful information on stylus tip dimensions vis the vintage of a mono LP. I don't remember it well enough to go out on a limb here, but I think I concluded that for "late" mono LPs, which is mostly what I own (no 78s at all, usually jazz from the mid- to late 50s), 0.7 mil is to be preferred over 1.0 mil. But in theory, there is nothing wrong with using a modern exotic stylus shape.
As to the question of vertical compliance, I would not get hung up on that. What might matter is whether the cartridge is designed and constructed as a "true mono" or whether it was built for stereo and achieves a mono output by bridging the two channels, internally. The latter group of cartridges are by far in the majority. The act of bridging cancels the signal that distinguishes between stereo and mono output. Only a few companies make true mono cartridges these days, Miyajima being one of them. EMT and maybe Ortofon also make true mono, and maybe also Lyra. I say "maybe" because the makers are very ambiguous in describing the construction of their mono cartridges. The Ortofon that you mentioned, for example, is almost surely created by bridging the two channels of their stereo equivalent. But if you read their ad copy, you wouldn't be sure. One benefit of the bridged stereo type is that you get two channels of mono output; I prefer that for driving my stereo speakers in mono. With a true mono, sometimes you only get one pair of output pins, hot and ground. This makes it awkward to drive a stereo pair of speakers in mono. On the other hand, if you are a purist, you might want true mono, which would have no way of leaking high frequency groove noise into the phono stage. (Mono is in the lateral plane whereas stereo information is derived from vertical motion of the stylus. If there is no stereo signal, as on a mono LP, then vertical motion of the stylus only generates noise from whatever dirt is in the groove. You want to cancel that signal, which is effectively achieved by bridging but it is possible that a true mono cartridge might be superior at rejecting that source of noise. (I can't say, because I have no true mono cartridges.)
Finally, there is the question whether using a mono cartridge, especially the ones derived by bridging, is any better than using the mono switch that you may have on your linestage or phono stage. There are varying opinions on that. I don't hear any difference.
As to the question of vertical compliance, I would not get hung up on that. What might matter is whether the cartridge is designed and constructed as a "true mono" or whether it was built for stereo and achieves a mono output by bridging the two channels, internally. The latter group of cartridges are by far in the majority. The act of bridging cancels the signal that distinguishes between stereo and mono output. Only a few companies make true mono cartridges these days, Miyajima being one of them. EMT and maybe Ortofon also make true mono, and maybe also Lyra. I say "maybe" because the makers are very ambiguous in describing the construction of their mono cartridges. The Ortofon that you mentioned, for example, is almost surely created by bridging the two channels of their stereo equivalent. But if you read their ad copy, you wouldn't be sure. One benefit of the bridged stereo type is that you get two channels of mono output; I prefer that for driving my stereo speakers in mono. With a true mono, sometimes you only get one pair of output pins, hot and ground. This makes it awkward to drive a stereo pair of speakers in mono. On the other hand, if you are a purist, you might want true mono, which would have no way of leaking high frequency groove noise into the phono stage. (Mono is in the lateral plane whereas stereo information is derived from vertical motion of the stylus. If there is no stereo signal, as on a mono LP, then vertical motion of the stylus only generates noise from whatever dirt is in the groove. You want to cancel that signal, which is effectively achieved by bridging but it is possible that a true mono cartridge might be superior at rejecting that source of noise. (I can't say, because I have no true mono cartridges.)
Finally, there is the question whether using a mono cartridge, especially the ones derived by bridging, is any better than using the mono switch that you may have on your linestage or phono stage. There are varying opinions on that. I don't hear any difference.