In the absence of the experienced editorial hands that had been employed by Western, Stanley appears to have had some trouble deciding how, exactly, Melvin should relate to the human world, or even how his work should be organized. Issues #1 and #2 consist of single narratives broken into distinctly titled parts (shades of Harvey Comics' 10- and 15-page stories) in which Melvin takes a "detour" into "Humanbeanville" along the way. These stories plainly suggest that humans live in, so to speak, a different dimension than monsters. With issue #3, we get a paradigm shift: the stories are now stand-alone, and Melvin runs into humans as a matter of course (even getting tracked by "monster hunters"). This is a bit disconcerting, to say the least. In both manifestations, the humans (whom Melvin appears to admire on principle) do behave pretty much the same -- namely, like jerks. A rich owner of a "private zoo" wishes to add Melvin to his collection (where are Superman and Lobo when you need them?); several human kids spin Melvin like a top; a rich couple living in a penthouse mock the "riff-raff" below; and, of course, there are the "monster hunters." The adult characters in the LULU stories never came off as badly as this. Creeping cynicism, you suggest? So do I.
Stanley's artwork in MELVIN reflects a comment that I recall him making about Irving Tripp's artwork on LULU (for which Stanley provided scripts and pencil roughs) being overly "static." Stanley's work is much livelier, if a bit inconsistent: the monster characters are very cartoony in appearance, while the humans look as if they've stepped out of a New Yorker cartoon. Melvin straddles these two extremes, being neither realistic-looking nor overly stylized. Again, a better editor might have suggested that Stanley bring the two disparate styles a bit closer together. Occasional misspellings in Stanley's lettering -- plus an awkwardly-placed caption that appears to have been shoehorned in at the last minute -- lend further credence to the theory that Stanley, working on his own, needed more editorial help than when he was part of a creative "team."
Subsequent volumes of the JSL will reprint Stanley's comic-book work on NANCY -- which, it goes without saying, will probably look and "feel" a lot more like LITTLE LULU -- and such additional all-Stanley enterprises as THIRTEEN, GOING ON EIGHTEEN. It will be interesting to see if the theory that I've posited here -- that Stanley was better working with established characters that he could "embellish" than with original creations -- continues to hold true.