WIRobotics is betting that years of real-world movement data could shape the next generation of humanoid robots
Updated
May 19, 2026 5:10 PM
3D render of a person in various colours. PHOTO: UNSPLASH
Investor interest in humanoid robotics is continuing to grow as startups race to build systems capable of working alongside humans in real-world environments. That momentum was reflected after WIRobotics announced a KRW 95 billion (USD 68 million) Series B funding round to accelerate development of its humanoid robotics platform, ALLEX.
The Seoul-based startup said the funding comes roughly two years after its KRW 13 billion Series A round in 2024. JB Investment led the financing alongside investors including InterVest, Hana Ventures, Smilegate Investment, SBVA, NH Investment & Securities, Company K Partners, GU Investment and FuturePlay.
WIRobotics has spent the past several years building wearable robotics systems designed to assist human movement. The startup is now using that foundation to expand deeper into humanoid robotics and Physical AI, a category focused on AI systems that can interact with the physical world through movement, perception and manipulation.
Its humanoid platform, ALLEX, is being developed to support human-level object manipulation and interaction capabilities. The startup was recently selected for NVIDIA’s Physical AI Fellowship, a global robotics and AI development initiative aimed at supporting next-generation robotics research.
Rather than building humanoid systems entirely from scratch, WIRobotics is drawing on movement data collected through its wearable walking-assist robot, WIM. Over the past three years, the startup says it has built large real-world datasets around gait patterns, mobility and human movement control.
That wearable robotics business has also started showing commercial traction. WIM has sold more than 3,000 cumulative units and expanded into overseas markets including Europe, China, Türkiye and Japan. Revenue grew from KRW 560 million in 2023 to KRW 1.3 billion in 2024, then to KRW 2.79 billion in 2025. According to the startup, first-quarter 2026 revenue has already surpassed its full-year 2024 total.
The startup believes that real-world movement data collected through wearable robotics could become a competitive advantage as humanoid systems move closer to commercial deployment. WIRobotics is also expanding its global footprint alongside its robotics development efforts. The startup said it is establishing a North American entity in California while growing partnerships with overseas distributors and healthcare networks.
Its humanoid ambitions are moving into a more operational phase as well. Beginning later this year, WIRobotics plans to supply a research-focused version of its Mobile ALLEX platform to global research institutions and international partners for testing and collaborative development. The startup is also in discussions with a global automotive manufacturer around manufacturing-focused platform validation projects.
Yeonbaek Lee said: "This investment represents global recognition that the real-world movement data and control technologies accumulated through wearable robotics can evolve into next-generation humanoid robotics. We aim to accelerate the arrival of humanoid robots capable of interacting naturally with people".
Yongjae Kim added: "All investors from our previous Series A round participated again in this Series B financing, demonstrating strong confidence in WIRobotics' technological capabilities and growth potential amid intensifying global humanoid competition. Our mission is to realize humanoids capable of fundamentally human-like interaction and force control, driving a paradigm shift in high-performance manipulation technologies".
As competition intensifies across humanoid robotics, startups are increasingly trying to differentiate themselves through real-world deployment data rather than simulation alone. WIRobotics is positioning its wearable robotics business as the foundation for that transition, betting that years of human movement data could help shape the next generation of humanoid systems.
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A Hong Kong pilot explores how creator-led distribution could reshape livestreaming for global competitions
Updated
May 1, 2026 2:25 PM
A dance crew performs in sync on stage at World of Dance under spotlights. PHOTO: WORLD OF DANCE HONG KONG
On January 22, 2026, World of Dance Hong Kong became the first global event to pilot Mitico’s community-based livestreaming model. The idea is simple: rethink how live competitions are shared in a digital-first world.
Instead of relying on a single official broadcast, the event was produced as one centralised live feed. It was then distributed across multiple creators and influencers, each hosting the stream for their own audience.
This gave creators room to add their own commentary, adapt the language and bring in cultural context that suited their communities, while the production remained consistent behind the scenes.
“Dance is a universal language”, said David Gonzalez, President of World of Dance. “Our collaboration with Mitico to produce an international, creator-led livestream in Hong Kong allowed a regional competition to reach a global audience. With personalised commentary from hosts in different languages, we can begin to see how regional events may connect through global communities”. This approach points to a shift away from traditional broadcaster-led distribution and toward creator-led amplification.
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Mitico’s approach begins with a familiar industry challenge: the high cost of production and licensing, which often makes it difficult to livestream cultural and sports events at scale.
“Many cultural and sports competitions are never livestreamed because traditional broadcasting is too costly and complex”, said Chengcheng Li, Founder of Mitico. “By distributing a centralised production feed through creators and community hosts, regional events can reach global audiences while maintaining a unified production workflow”.
World of Dance (WOD) offered a natural test environment. It started as a global dance competition platform before entering a television partnership with NBC, which later produced four seasons of the World of Dance reality series. While the television programme concluded in 2021, the competition business has continued to expand through an international network of partners. Today, World of Dance competitions are represented in more than 72 countries, producing nearly 100 events each year, with a digital audience of more than 34 million followers across platforms
Despite that scale, many competitions are not livestreamed due to the high production costs and technical demands associated with traditional broadcasting. The Hong Kong event was selected to assess whether a community-led distribution model could offer a more scalable alternative for live coverage.
While no changes to World of Dance’s broader distribution strategy have been announced, the Hong Kong pilot offers an early indication of how global competitions may rethink livestreaming in an increasingly creator-driven media environment.