Keyboards recognise chords in any inversion by design. If they didn't, then you'd have to jump around the keyboard like crazy to play the chords in root inversions to get the normal bass notes. If you go back to the early 1970s, that's exactly what you had to do when auto-accompaniment first appeared (Hammond Piper, and then dozens of cheap Italian organs!). IIRC, it was Yamaha that got autochord that wasn't inversion sensitive.
I can't recall a keyboard that did what you mention, but it's not impossible. The i40 was a great keyboard in its day and had lots of new features. I can recall keyboards that played different patterns depending on the type of chord played (major, minor, 7th etc) and in the back of my mind something says that the Lowrey MX-1 organ (the first instrument to have orchestrated styles rather than simple strumming) may have also switched when you played different inversions. Haven't played one in years and most are dead by now.
Problem comes these days in that people also want 'on-bass', or 'slash' chords, and in an 'on bass' mode, these have to be in different inversions, which sort of rules out the idea of inversions themselves changing patterns. AI and On Bass modes will usually (always?) keep just to the bass note that is requested by the chord played - C/G will stick to a G bass.
Having inversions play different patterns is a nice idea, and it's one that goes with the idea of major, minor, 7th, minor 7th, diminished and augmented chords all playing different patterns. If we then make the style patterns much longer, and add more variations or sub-variations, we soon find that we need a major rework of the style engine. It could be done, but the work involved with programming any single style would be multiplied many times over. I can't see it happening!
The best you can do to avoid repetitive bass and accompaniment lines is 1) use lots a variation changes 2) use more than one style in a single song 3) use AI mode and play lots of inversions to create your own bass lines. A lot of thought goes into it and a lot of effort to play it and get it right every time. It's something I expect my high end students to do and you can take it as read that it's what examiners listen for at the very highest exam levels.