Well, this does seem like a thread I should weigh in on…
The game’s designed so that the Autonomy and Empathy paths are the most common of the climax chapters, since they don’t require much special to accomplish. It’s also designed so that players fail a lot the first time through and probably get something bittersweet at first for an epilogue. Better endings typically require some effort and replays (I think). I guess that might help you focus discussion on the more common paths.
Something CoR’s great for is discussing the traditional parts of a narrative. The thing it does very differently is having different climax chapters depending on how the player tended to resolve conflicts earlier in the game. So you could talk about what a climax is, how it should be set up based on the rising conflict earlier in the story, and so on. The last chapter is decidedly an epilogue, and you could talk about how stories after the climax are typically just wrapping up loose ends and giving a trajectory for the future after the climax is resolved. People often say Choice of Robots is extremely branchy, but I think it’s largely the different climax chapters that (intentionally) give this impression.
Another topic you could discuss is point-of-view. Even though the player has a lot of decisions to make, there are definitely fixed things about the point-of-view; you’re always a genius robot-maker that has some degree of trouble thinking about topics that aren’t robots. So, for example, the stat changes for robots are called out, but relationship and humanity changes are not. There’s also a possible scene where the main character gets distracted trying to figure out the algorithm that produced the camo patterns on soldiers’ uniforms; that definitely happens in that scene and isn’t tied to stats, but is just part of the POV.
A final topic that might be interesting is how every work of fiction is in a dialogue with fiction that has come before. The four climax chapters are definitely all robot fiction tropes – robot revolution, robot romance, robot conquest, robot utopia – and I think big choice-of games often try to serve up the tropes that fans demand. There also has to be a some conscious acknowledgement that these tropes exist within the world of the game, because anything set in the real world has characters who have also consumed media. You could have a discussion about whether the students like or dislike it when fiction references common tropes; if they claim to all dislike it because they think that’s what they ought to say, find out how many of them like genre fiction of some kind, which almost always invokes some familiar tropes even as it does novel things at the same time. I think serving up something that the reader wants is always a tension between providing something new and providing something comfortably familiar.
I hope you have fun!