Ulmer then describes the general form that describes most movies made in modern times, and uses it as a roadmap for the path the next few chapters will follow. I assume that this means that our mystories will detail similar trips we've taken, starting comfortable, entering a challenge, returning home, being resurrected. Ulmer also points out the circular nature of these epics, each ending with the hero (ourselves) returning home, which obviously puts us at the starting point for our next story.
His exposition on the ideas of alienation and homesickness are confusing. The alienation is based around the epic of Ulysses, trying to return to his home after the Trojan War. At some point, the hero begins to "fracture, and so to philosophize. (75)" He is alienated, apparently from himself, and in doing so is able to reflect on himself and study himself.
This fracture and alienation is apparently contained within the feeling of homesickness, the longing to return to the place of shelter or to the arms of loved ones.
Ulmer presents the TOTE decision process (76), which is very succintly made into the metaphor of driving a nail flush into a board - hit, see that its straight, drive through, leave be. This is the opposite, of what a homesick person does, which is to star something, but become lost in the punctum all around him and remember his home.
Ulmer spends the rest of the chapter focusing on the structure of the mystory, including the four different types of formation: Literary, Allegory, Moral, and Anagogy. He demonstrates with a sample mystory, written on behalf of James Joyce.
