Writing in the 1997 book "Trash Aesthetics: Popular Culture and Its Audience", Deborah Cartmell states that while the comic showed Tank Girl to be "unheroic or even accidental antihero", the film sets her up with "classic western generic" emotional and moral justifications for her liberation and revenge on W&P, as she witnesses the slaughter of her boyfriend and her "trusty steed". She also sees one of the commune's children being abducted, and is herself captured and enslaved. Cartmell also says Tank Girl holds parallels with other "contemporary 'postfeminist' icons", as she displays dominant female sexuality and a "familiarity and knowing coolness of 'outlawed' modes of sexuality", such as masturbation, sadomasochism and lesbianism.