I think it depends on what you want to highlight, PIF. Sympathy (wanting the character to succeed) or empathy (caring about how the character feels)? It also depends on how you want to reveal it.
Third person is good at letting us sympathise with the main character and empathise with the world, but first person often helps us empathise with the main character and sympathise with the world.
So if your MC is very sympathetic then I'd suggest third person (e.g. Tolkien's hobbits). This gives you options for omniscient empathy to look at the reactions of others. If it's less sympathetic then I'd suggest first person (e.g. Chandler's Marlowe or Fraser's Flashman) or limited third. This opens up empathy so that at least we understand what your MC is feeling.
It may also be helpful to consider whether you want the character to operate more on the world or the world to operate more on the character - and how you want to reveal the character to the audience: outside-in (by impressions and impacts) or inside-out (by motives and reactions)?
If your character is operating on the world but revealed inside-out then you might choose first person (e.g. Gene Wolfe's Severian in the Book of the New Sun series). If it's outside-in then you might choose third (e.g. Batman).
If the world is operating on a character who's being revealed inside-out then you might choose third person (e.g. Akakii Akakievich in Gogol's The Overcoat). If it's outside-in then you can choose either (Lady MacBeth is third person for instance, but I generally prefer 1P or limited 3P because it feels tenser to me).
Also, if you want to alternate between sympathy and empathy it can be useful to use a 3P observer who's actually a character in the story. A lot of horror stories do this, for instance.
Random ideas here that I've been putting together... Hope they may help.