Point-of-View of Interest
The third definition may sound a bit confusing because we often think of ideology as already representing interest, which is true to some extent, but which at another level doesn’t mean that they are inseparable. The difference between the two becomes apparent when we consider that what we believe to be in our interests (ideological POV), may be in conflict with our actual interests. In other words, we may not be aware of our actual interests, or blinded by our beliefs to a degree at which we can’t perceive them thorougly. Interest, is therefore not about perception or ideology, but rather about an awareness in regard to the consequences of events.
This can create interesting situations. For example a character may be aware of the negative consequences of a particular choice, but he may still chose to face that consequence due to his beliefs (ideology) as is the case in situations that involve sacrifice. Or sometimes a character may find himself in a dilemma: He may not be able to decide whether to follow his belief or his interests. Or a designer may come up with a plot where two equally important interests are put against each other: Chosing over one of these will cause the other one to be lost. This conflict can be then the basis of a certain ideological view that develops out of this conflict. This latter example is known as a Corneille Dilemma, named after the famous French playwright, who often put the protagonist in a situation in which he had to chose between love or reputation, and where chosing one would definitely mean to lose the other.
Another very interesting example is that of Kassandra, a figure from Homer’s Illiad, who, due to her ability to see the future, knows already the consquences of the Trojan War: the city will fall and all members of her family will be killed or fall into slavery. But because of a spell that was placed on her by Apollon, noone believes a word of what she says, and she is sentenced to watch her folk running towards its terrible fate. This is a very powerful use of POV of interest, because the character can’t do anything to prevent the consequences that she is aware of. This is similar to films in which we yell at characters things like “Don’t open that door!” or “No, don’t believe him! He wants to kill you!”. We know the consequences, but the character doesn’t. The french philosopher Gaston Bachelard has termed thereform such situations as Kassandra Complex, and the melodrama genre in the cinema makes heavy use of it. But you may be surprised to find out how often it is also used in games. Take Lemmings for example: the poor creatures, themselves not aware of the consequences ahead, urge us to take control of the situation, because only we as players are aware of what could happen to them.
source : altugi.wordpress.com/2013/01/14/three-types-of-point-of-view-in-video-games/