They will always revert back to some 'default channel' or other.) Point being, with maps that use channels, you can't get them to 'stay on the same articulation' the same way you can with keyswitched instruments. And if the track is set to 'any', it will be whatever channel you record in. (It won't work the same with expression maps that switch midi channels though if there is no midi channel set in the sound slot, notes will be sent on whatever channel is set on the track level instead. When you leave this first slot blank (no output mapping), it simply means the default state is to do nothing - so that with keyswitched instruments, no new keyswitches will be transmitted and the instrument will be left with the same active articulation as before. This is an old trick that's sometimes useful because every time you move the play cursor or restart playback, Cubase always reverts back to the first sound slot in the list. Regarding the empty slots - it's unrelated to this particular problem so it's a bit of a sidetrack, but I'll mention it anyway because it's a frequent cause of confusion. Is it necessary to set the root key within the expression map, for example? I don't have the library in question, so I don't know if maybe there's an easier way to set things up. In your case, it looks like you have three groups each with a lot of articulations - setting up every conceivable combination as its own slot, frankly, might be more trouble than it's worth (although you only have to do it once, I suppose). Which might explain why you're only seeing Group 3 being triggered properly - simply because they appear first in the list. I also believe that when Cubase has trouble deciding which sound slot to use, it simply goes with the first partial match it finds. (Steinberg could improve things considerably here by allowing groups to work independently, or let us assign output mappings and remote keys directly to attributes there are many use cases where this would be much easier.) Which unfortunately leads to this combinatorial explosion. Articulations is what you draw in the lane as directions or attributes, which Cubase then uses to deduce which singular sound slot to trigger.
Sound slots is where you assign your output mapping so Cubase knows what channels or keyswitches to use - there is only ever one sound slot active, and only one. I find it helpful to distinguish conceptually between sound slots and articulations. If they also have, say, three different attack styles, you're up to 2*3*3 different slots, and so on. You would have to set up 2*3 unique sound slots covering every combination. As an example, say you have a library that has legato and sustains and three different vibrato styles. The groups can't be set up to operate independently, you need to set up every combination as its own sound slot.
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