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.
Keep Reading
AI actor Tilly Norwood releases a musical video arguing that artificial intelligence can expand creativity in film
Updated
April 1, 2026 8:55 AM
AI Actor Tilly Norwood. PHOTO: INSTAGRAM@TILLYNORWOOD
As Hollywood prepares for this weekend’s Oscars, a different kind of performer is stepping into the spotlight — one that doesn’t physically exist.
Tilly Norwood, described as the world’s first AI actor, has released her debut musical comedy video, Take the Lead. The project arrives at a moment when artificial intelligence has become one of the most contentious topics in the film industry.
The message of the song is simple. AI should not be seen as a threat to actors. Instead, it can become another creative tool. The release also offers a first look at what Norwood’s creators call the “Tillyverse”. It is envisioned as a cloud-based entertainment world where AI characters can live, interact and perform.
Behind the character is actor and producer Eline van der Velden. She is the CEO of production company Particle6 and AI talent studio Xicoia. Van der Velden created Tilly as a way to experiment with how artificial intelligence could be used in storytelling.
The timing is not accidental. The entertainment industry has spent the past few years debating the role AI should play in filmmaking and acting. Questions about digital replicas, automated performances and creative ownership continue to divide artists and studios.
Norwood’s musical video enters that debate with a different tone. Instead of warning about AI replacing actors, the project suggests that the technology could expand what performers are able to do.
The video itself also serves as a technical experiment. The song Take the Lead was generated using the AI music platform Suno. The video was then produced using a combination of widely available AI tools and Particle6’s own creative process.
One of the newer techniques used in the project is performance capture. Van der Velden physically acted out Tilly’s movements and expressions so the digital character could mirror a human performance. But the production was far from automated. According to Particle6, a team of 18 people worked on the video. The group included a director, editor, production designer, costume designer, comedy writer and creative technologist. In other words, the project still relied heavily on human creativity.
“Tilly has always been a vehicle to test the creative capabilities and boundaries of AI,” van der Velden said. “It’s not about taking anyone’s job”. She added that even with powerful tools, good AI content still takes time, taste and creative direction.
The project also reflects how quickly production technology is evolving. Tools that once required large studios are now accessible to smaller creative teams experimenting with AI-driven storytelling.
For Particle6, the character of Tilly Norwood acts as a testing ground. Each project explores how AI performers might be developed, directed and integrated into entertainment. Whether audiences embrace digital actors remains an open question. Many in the industry are still wary of how AI could reshape creative work.
But projects like Take the Lead show another possibility. Instead of replacing performers, artificial intelligence could become part of the creative process itself. In that sense, Tilly Norwood may represent something more than a virtual performer. She is also an experiment in how humans and machines might collaborate in the future of entertainment.