Yes, thanks mickydoo and anne. To me it boils down to: should I treat the MC and player as the same entity or not? The problem I have is that there are several things I want the player to understand about some of the characters so they have a deeper understanding of them. At the same time I need to be careful that this behind-the-scenes info won't spoil decisions their MC is faced with down the line. But that's MY problem: it's risky and I could mess it up.
Both options have their positives and negatives, like every other writing style. There's many examples of authors jumping from first to third person, but books have the advantage of using as many chapters as they want/need to use that point of view change, which inherently gives them the ability to change narration styles, and thus differentiating the protagonist from the new narrator. If this is something you choose to do, you need to make it clear that this isn't the protagonists POV as soon as you can. Whether that's through dialogue of other characters, showing a location in a different area you mentioned at some point earlier in the game, or something else entirely. And if you're doing any kind of consistent time travel, it's something I highly recommend against.
The problem with this is that it takes a skilled writer to transition between the two POVs cleanly, and even better one to make it seem natural without head-hopping. That's not to say you aren't capable of doing it, but it's something you yourself need to decide.
As for your last point, it's hard to give an answer as I don't know the details. Once again, subtly is your friend. There's absolutely nothing wrong with dropping clues for the player/viewer when it comes to a meaningful choice, especially so for a right or wrong choice/answer. More perceptive players make pick up on them, but others may not. Again, hard to give an accurate example without knowing much, but it doesn't have to hit the player in the face. A bit more nuanced in the writing department, for sure. But if you're afraid of revealing something about the MCs choices later on, then skirt around it. Have the conversation be interrupted, bring in some conflict that's related to the overarching conflict of the plot, or trail off the conversation and move back to the protagonist.
At the end of the day, it's about what you want to do and where you think your skill level as a writer is. Regardless of the good advice given above, it's only a choice you can make.
