Betty Brant, formerly the receptionist for the cranky J. Jonah Jameson, served this role as the first of Peter Parker/Spider-Man's lovers in the 1960's. Her role in this position has often been ignored in most of Spidey's alternate media depictions - the only exceptions being his original 1967 cartoon and an homage in 2007-2009's "SPECTACULAR SPIDER-MAN". Yet despite the fact that she and Peter have been broken up since the 60's, she has remained a character who seems to continue to remain in peril or to become part of some dramatic tale every few years. From mobsters killing her brother to being the hostage/damsel-in-distress du jour during the Stan Lee/Steve Ditko era, to machinations with the Hobgoblin and even becoming an "edgy" gun-toting warrior in the 90's, Brant has seemed to always be put through the ringer by writers. Rick Remender in VENOM has followed suit, since she happens to be dating Flash Thompson, the latest host of the alien symbiote, which allows her new opportunities for peril. With this as a backdrop, AMAZING SPIDER-MAN #665 has the task to fill 30 pages before the proper start of "SPIDER-ISLAND" within 2-3 weeks time. While this could be dismissed as a "fill in issue", writer Dan Slott and artists Ryan Stegman and Giuseppe Camuncoli (alongside two sets of inkers and colorists) manage to produce a memorable little tale.
The main 22 page story is drawn by Stegman and features the aforementioned Brant. While she appears infrequently in the series - especially since Peter has become a lab technician instead of a freelance newspaper photographer - this issue seeks to establish their relationship. While both Peter and Betty have moved onto different lives and lovers, they still remain good pals, meeting at least once a month to watch a movie. However, with Peter spending all of his time at either Horizon Labs or all of his superhero engagements - solo-heroics, Future Foundation, and TWO Avengers teams - ultimately leaves Betty without her ex to hang with once a month. With Flash also leaving town for VENOM missions, Betty decides to visit a seedy section of town to see an indie film on her own. Alas, things go horribly wrong from a source that isn't a costumes maniac for once, which nearly drives Spider-Man over the edge as well as assembles his entire cast into a hospital.
This is a solid tale in which Peter Parker gets a reminder that despite being a part of the "big time" these days, the villains who often shatter the most lives are often small time and nameless. While it is often lamented about how super-heroes rarely fight "typical criminals" due to the lack of drama, this tale by Slott actually pulls it off. Stegman's artwork is very good, especially matched with John Rauch's colors and Michael Babinski's inks. Towards the climax of the tale comes a conversation between May and Peter that is actually pretty deep, and delves into his origin sequence in a new way. The only oddity is the moral is a bit mixed. The moral seems to be that when someone close to Spider-Man is hurt, his place is at the side of his loved one and NOT to flee into the costume to deal with it - yet it is only by doing so that Spider-Man is ultimately able to track down the perpetrator. May merely convinces Peter to put off apprehending him a day to be somewhere more important. Even J. Jonah Jameson gets a moment to be tender in his own way.
The back-up strip is drawn by Camuncoli, who was the artist of the lead tale for the prior two issues. It is a smaller issue in which May and her new husband, J. Jonah Jamesone Senior, decide that NYC is far too dangerous for them and to head to Boston. This proves to be quite a thing for both Peter and J.J. to adjust to. It does give a sense of moving on and allowing Peter to grow up a bit (again). Slott does use this story to showcase how well he knows Spidey's continuity with some flashback panels, but he manages to weave it into the tale for context and to showcase the history of the character. While the cover bares the "Road To SPIDER-ISLAND" tagger, only a two panel sequence seems to pay lip service to this. Camuncoli's artwork looks a little different with Marte Gracia on colors and doing his own inks, but is still looks great - merely different from his work on the last two issues.