Featured in the end of the manga version of Chrono Crusade.After Rosette saves her brother, they apparently go exploring for a year or two, then Rosette returns to the orphanage she grew up in to become a teacher. She dies there a few years later.
In Pre Crisis continuity, Clark Kent hangs on to the Kent family home in Smallville, even though no one lives there any more. His childhood friend Pete Ross, who secretly knows he's Superman, is bemused that the dude who can juggle planets is so sentimental.
The Little Tailor, having set out to let the world know of his feat — seven at one blow! — settles down once married to the princess.
The Boy Who Set Out to Learn What Fear Was stops when he marries the princess, even though he has not learned it. (She is annoyed by his muttering about it, though, and throws a bucket of cold water with minnows over him while he sleeps — thus managing what all the characters have failed to do, teach him what fear was.)
Andre Norton often features this. Usually, the original location was not a good fit in some manner, so they must find a new home, but that is what they are after.
In The Beast Master, Hosteen Storm nearly goes insane after the destruction of Terra; he channels it into a desire for Revenge, and in the end, discovers that he had still living relatives on another planet where he could make his new home.
In Catseye, after Troy forms a group of True Companions with enhanced animals, they stay in the wild in hopes of finding a refuge.
Simon Tregarth, having taken a Cool Gate to another world, finds it more suited to him. He makes friends and fights for it; at the end of Witch World, he and the witch had fallen in love and marry. Although they had further adventures, being dragged into them, at the end of Sorceress of Witch World, they go to return home and settle down in peace.
In the first novella of Garan the Eternal, after some initial understandings the male protagonist settles down with the titular "People of the Crater".
In Gryphon's Eyrie, the protagonists have been Walking the Earth since their respective childhood homes were destroyed. They find a new permanent home and settle in by the end of the story.
In Perilous Dreams, the surviving protagonists of the first two stories learn that they are permanently trapped in an Alternate Universe. However, they find that their new life has much to offer that the old did not, and live Happily Ever After.
In The Prince Commands, the protagonist (after many adventures) settles down to his new life in Morvania upon learning that he and his last living relative had had a misunderstanding, and that he was welcome to stay.
In Star Man's Son, the hero gets several offers for places he could stay, but chooses to return home to face charges of theft and sacrilege. The people he stole from decide he did so well at their job that they dismiss the charges and recruit him to be a new leader.
In Ice Crown, Roane is distraught when the ship leaves without her, thinking herself alone; Nelis assures her that she has found a home.
In Dread Companion, Kosgro insists they can't get any old Cool Gate; they must get their own, that will return them to their own place. Too bad she doesn't send them to their own time. . . .
When asked whether to receive guests, Menelaus reacts in anger: as if he would violate Sacred Hospitality, having spent so long as a guest in other men's houses, and having finally won back to his own home. (He took nearly as long as Odysseus to return.)
The Lark and the Wren: Ends on this note once the Free Bard protagonists gain a permanent position as court bards while the Beta Couple acquire a well-fitted out wagon to let them continue their wanderings in comfort.
Vows and Honor: Tarma and Kethry are adventurers because they need to build up capital, experience, and reputation before they can follow their dream of retiring to establish a Wizarding School (which will also train more mundane fighters, Tarma's specialty). They also plan to reestablish Tarma's clan once Kethry finds someone she'd like to settle down with. They achieve both goals by the end of the original duology.
At the end of The Mallorean, the protagonists return to their respective homes; as Garion notes, since the loop of destiny was finally broken, it's as if they're all returning to where they started for whatever future is waiting now.
When Coraline returns from the other world for the final time, she contemplates how beautiful the real world actually is:
The sky had never seemed so sky. The world had never seemed so world.
On returning from his trip through The Phantom Tollbooth, Milo's first impulse is to avert this trope and go back the next day. But once he takes another look at his own world — and all the things that'd previously bored him, yet now seem more interesting — he stops being disappointed that the Tollbooth has vanished.
In Kenneth Grahame's The Wind in the Willows, when Mole and Rat are out at Christmas time, Mole realizes they are near his home, and feels a primordial instinct to return.
In The Orc King Tos'un Armgo is a drow with a typical For the Evulz attitude who changes slowly and ambiguously for the better during the novel. He is very relieved when moon elves take him in. A hundred years later he's married with two children. In contrast, good and noble Drizzt who was equally relieved at finding people who accept him keeps up an In Harm's Way lifestyle.
He was intensely eager to belong somewhere and to be attached to almost any enterprise that would furnish him food and clothing.
In Jack Campbell's The Lost Fleet novel Invincible, Admiral Lagemann tells Geary he will not be a problem when they return, because all he wants is to resign and retire to some backwater planet.
In Poul Anderson's Time Patrol stories, a good number of agents have a far amount of this, and work in a given era, checking for problems and providing other agents with what they need to operate in them.
Ellen Emerson White's Echo Company Series and its stand-alone conclusion The Road Home features a group of young soldiers and an Army nurse during the Vietnam War, all of whom spend their tours desperately longing to return home. When they finally do, most are deeply affected by physical and emotional damage, and so they are unable to settle back into their old lives.
In Poul Anderson's "Gypsy", the reason they stopped looking for Earth was that they would rather settle on Harbor and make it their home.
In Doctor Who, the Doctor never shows any signs of this, but a great many of the Doctor's companions Go Back Home when they've had enough of the adventures. (Or have found a new home.)
Turlough's motive for leaving: he would miss him, but he had a chance to go home, and his brother to look after.
Susan left because the Doctor realized that she wanted this but felt too loyal to her grandfather to give it up, so he forced the issue.
Leela stayed on Gallifrey for love — and K-9 to look after her.
Harry Sullivan declined even a short jaunt on Earth.
In "Day of the Doctor," After saving Gallifrey with all of his incarnations, he seems to realize this was his destination all along:
The Doctor: My journey is the same as yours, the same as any ones. It's taken me so many years, so many lifetimes, but at last I know where I'm going. Where I've always been going. Home. The long way around.
Odo started off as a shapeshifter who knew nothing about his race or where he had come from, learned his race was the series Big Bad and was, as a result, unable to return home to his people though he desperately longed to do so. At the end of the show, he realises that the best chance for long-term peace the Alpha and Gamma Quadrants have is for him to return to his people and teach them that the Solids don't have to be their enemy. To do this, he has to sacrifice the love of his life, making his return home less "sweet" and more "bittersweet".
Garak spends the entire seven years of the show in exile from Cardassia but clearly very much in love with the world he's come from, longing to return home but unable to do so. He and Odo even end up bonding over their shared yearning. At the end of the show, his exile is officially over and he's able to go home. But the Cardassia he once knew is gone; the planet's cities are in ruins and eight hundred million Cardassians are dead. And, by playing a pivotal role in the success of The Federation and La Résistance against the Big Bad occupiers of Cardassia, he's actually contributed to the situation his planet is now in. Home Sweet Home never looked more tragic.
In Season 7 of Bones Booth and Brennan finally move in together. They purchase a house - the first for both - and with their newborn daughter Christine it's the symbol of the family both have longed for all their adult lives. Booth dubs their house the "mighty hut," and it's pretty symbolic of everything it really means to him.
At the end of The Legend Of William Tell, with Vara on the throne and Kreel and Xax overthrown, Will asks permission to go home and tend his parents' farm.
Barbie had a marketing campaign in 2013 in which Barbie considered selling her Malibu Dreamhouse and moving to another city. After traveling across the world, Barbie ultimately moved back to Malibu and had her Dreamhouse remodeled.
The Super Famicom RPG Traverse: Starlight & Prairie has a "Marriage" option in the game's main menu, which you can use at any time to hook up the protagonist with any sufficiently intimate party member. Using it results in a short cutscene at the chapel and a Non-Standard Game Over.
In the epilogue of The Reconstruction, Santes and Zargos settle down in Wadassia. The four Nalians in the party also return home. Averted with the fih'jik members of the party, not only because they don't want to go back, but because they don't really have a home to return to. Also averted with Dehl and Qualstio, who continue to wander and help the world.
At the end of The Game Of The Ages, you leave the worlds you saved and are happy to return to the Village of Boredom.
The Autobiography of Jane Eyre: In episode 1, Jane enthusiastically plans a big change in her life and wants to experience sensational adventures, which results in applying for a new job rather spontaneously. This is in stark contrast to episode 9 when Jane longs for calm and she wants to go home really badly... except she's an orphan with only an abusive step-aunt and equally bad cousins, and poor Jane doesn't really have any place she could consider her home.