And you think that is designed for the smaller weaker person to gain the advantage?
Or that there was some sort of unique range or strategy at play?
And you continue the derail. I get that you are still chomping on the bit regarding our previous debate and that MMA appears to be THE MA in your eyes but I have moved on from that particular debate. So this will be the last time I respond regarding specifics on WC.
If you read what I posted elsewhere it is more than that, it is holistic, the whole of the art, the strategy with the techniques together.
1. The WC practitioner's structure and centerline theory on attack.
a. The structure and the way punches are thrown, straight from the centerline. As I said in the elsewhere, but you seem to have forgotten, or ignored it, punches are thrown from your center with the elbow down, instead of from the shoulder. Added with the overall structure and the way you step as you punch or palm strike, is essentially a "thrust" with your entire body body mass starting at the ground. While some argue this is not as powerful as more muscularly driven strikes, often circular in nature rotating out from the shoulder and/or waist (I won't argue on that point) it provides for excellent transfer of force along with great speed for each strike and the ability to chain punch very rapidly as well. Since force is mass*acceleration, and this method does an excellent job of maximizing both it benefits a smaller person.
b. The structure, being upright can also, potentially, permit you to be striking with full power inside the reach of many of the most powerful strikes of a larger opponent.
c. The concept of centerline theory however doesn't only extend to maintaining your centerline. It also goes towards techniques of disrupting the centerline of the opponent as well. Disruption of the centerline makes for weaker attacks as the foundation of those attacks is now no longer stable.
2. Defense.
a. The way WC bridges and/or stops incoming attacks.
Tan-sau, bong-sau, pak-sau, gaun-sau etc are deflections, many of then designed to essentially create a wedge. This follows the concept of never meet force with force and also feeds into the structure. The since you are deflecting instead of blocking a good portion of the energy is diverted away from you (picture a sword sliding along the edge of another sword and away from the subject parrying.) Your structure comes into play because even under those circumstances all of the energy isn't deflected, but the structure of your spine in relation to your legs, due to the stances, allows that excess energy to travel straight down to the ground. Again benefiting a smaller person. A different example is the Ryushinka Karate I took. There you primarily did hard blocks and to absorb the energy you relied on muscle power to absorb the excess energy with strong forceful stances. This later method would negatively impact WC attacks because it would disrupt the structure and require a reset of sorts before launching an attack.
b. I mentioned bridging. Looking again at the sword analogy, the fact you are creating a "wedge" of sorts allows you to maintain your forward momentum for attacks while simultaneously defending. This comes into play again with the F=m*a equation as, if you are not capable of stepping in with your attacks, they lose a portion of their acceleration and as such you lose power.
Now oof course other arts generate as much force, arguably more force than a WC punch BUT the structure behind a WC punch, as described above, is designed to put the maximum amount of mass behind a punch for a smaller person while permitting a very high rate of acceleration to help compensate for smaller size.
Now the above, again, is not to say strength and size don't benefit WC. To quote one Sifu I heard speak "two fighters of equal skill, one is bigger, the bigger guy wins." He wasn't limiting his comment to WC vs WC either, it was WC against just about any equally skilled/prepared fighter. It's only to say that the physics of the art were specifically designed around an understanding of how force is generated and diverted in such a way as to maximize it's effectiveness for smaller people. It's one of the reasons legend has it that the first person to teach the art was a Nun and that she first taught it to a young girl she named Yim Wing Chun.