The main aim of my thesis “When the caricature meets resistance”, was to contribute with a new understanding of how editorial cartoonist’s situation has developed within the last ten years. The project is a part of “Shared Horizons”. Satire as a genre, comparing to other media, is not true. It represents the line, caricature and exaggeration. Therefore, satire has been perceived as harmless fun in many years – with its wide arena for relatively free expression of opinion. The starting point for this work, was a wonder of how the inflamed conflict around the satire genre, has affected editorial cartoonist’s freedom of expression, as much as their work choices. To do this, today’s situation is compared with the situation before the cartoon controversy in 2005/2006. There is a lot of theory and literature about the cartoons, especially after the cartoon controversy and the massacre at the offices of satirical magazine Charlie Hebdo in Paris this year. Despite this, I have not found anyone who has presented direct research on editorial cartoonists. To contribute new knowledge, seven editorial cartoonists have been interviewed – both with national and international backgrounds. It is interesting to gather experiences based on different understandings, not only from Western democracy, but also based on dictatorships, violated human rights and missing pillars of society. The sum of the respondent’s different experiences provides a better and more complete picture of the caricature’s position in society, its evolution in the future, and how their work situation and their freedom of expression have evolved the last years. My analysis has shown that the work of the editorial cartoonist has changed as a result of the development in society, and thus as a result of recent years terror and war. The work situation is very inflamed, because of fear and political correctness, among other things. The visual system is different form the verbal one, thought an analogical “grammar” can be shown for this genre of drawing. However, anxiety for the potential of being misunderstood has been expressed clearly. A problem can progress especially as a result of the development of the World Wide Web in recent years; an image has a larger ability to be misunderstood if the caricature ends up in another context. It can change character, depending on whether the text is absent, or expresses sympathies or antipathies. Awareness of this has been researched: 12 people in the age group 18-85 years were asked to explain two caricatures without seeing the supplemented texts in advance. My analyses suggest that this is rather impossible. This emphasizes the difficult situation and the high risk of being an editorial cartoonist in 2015. Additionally, knowledge about the metaphorical drawing as a visual language has been investigated. The criterion forming the basis for this part of my thesis was to evaluate if editorial cartoonists today, as a result of the exacerbated situation, have made any visual changes in they work. In conjunction with the issue for my thesis, two drawings made by the Norwegian editorial cartoonist Siri Dokken – made before (2005) and after (2009) the cartoon controversy – have been chosen. Knowledge about the metaphorical aspect in visual formulation is in a lesser degree described. With cognitive metaphor theory as a main tool, at the same time as the two drawings have been compared, the topic became deeper explored within a broad register of formulation devices. The content is developed in necessity for metaphors, the metaphor’s potential, narratological theory, pictorial semiotics, rhetorical tropes and an evaluation if changes in visual choices have ascended.