I'm not familiar with the E/V 666, but based on the model name, I would guess that it's good for Death Metal.
E/V is my favourite dynamic mic company, but their mics are generally overlooked and have short lifespans on the market. I get more detail with their mics than any others.
The RE20 is equivalent to using the N/D 868. I've compared them and the slight difference is probably more due to positional considerations as the RE20 is larger and thus less versatile in that regard. But as mentioned earlier, I prefer a dedicated kick drum mic so that a vocal mic (e.g.) can be trusted to have roughly the same character after many sessions.
To each his own, but the D112 is the worst kick mic I've ever used (and I've used over 30 altogether) -- and I owned/used it for more than six years. It gets a certain sound, but it isn't the sound of the drum.
I can see how someone working in specific genres may like it exactly for that reason, so I'm not about to judge someone who doesn't want a transparent and natural kick sound. I have personally yet to take on a project that called for it. Sometimes a gated sound, but that's as far as I go away from the natural sound.
The earlier D12 is often listed amongst the top kick mics, but is very hard to find (especially in good condition). Most of the older engineers in the industry didn't feel the D112 had much in common, other than a similar name. Some people get confused as a result, seeing D12 listed on an album and assuming the D112 is what they want.
I recently picked up a Heil PR30 and PR40, to try out on guitar and bass cabinets vs. my trusted e906 and MD421 II, at my next sessions. But they are also liked on kick drums and floor toms, so if I find them useful in that role (whether inside or outside the kick), I might go for the dedicated PR48 model that is meant specifically for kick drum. It's a bit of a sleeper mic, and some say its character lies somewhere between the SM7 and the Beta52 (which isn't bad for a coloured mic, having great attack and detail).