What techniques or methods do they use?

In terms of creating their games, for example, their new upcoming game Legends of Runeterra, they’re using the methods of using Unity (Unity Technologies, 2005), programming in C# for both client and server to prioritise correctness and legibility, and designers will use Python to script content of cards and quests. In addition to this, they will also use Git and LFS for version control to contain large piles of binary data for textures, audio, vendor tools, etc. 
But just like their related game League of Legends, Legends of Runeterra will be set up to ship a patch every two weeks. Which is important to them because to keep the game’s main development branch stable, and to ensure that any intense experiments with new features or gameplay take place in their own development branches. 
But as they constantly script code and programming, they have loads and loads of playtesting to be done to ensure that everything is executed perfectly - making it work, through services and client, making it presentable, making it balanced, and finally making it shine, where the game is fully playable on an internal environment, and then it can go public.

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However, writing-wise. As I read through multiple biographies and stories of characters Ahri, Warwick, Aphelios, Aurelio Sol, Ezreal, Kai’Sa, Quinn, and Rengar, they were really interesting to read, especially the stories of Ahri and Ezreal, and biography of Warwick. But because I will be writing a short story of my own about Red in another character’s eyes, Lewis, I will be focusing on the short story side of analysing.

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In Ahri’s story of A Fair Trade, written by Rayla Heide, used a great imagination of a cinematic animation, as if presented as a YouTube video, because sometimes my painted images in my mind can be faulty and left unmanaged to imagine the scenes the writers are trying to describe to us. However, personally, Rayla really engaged with my reading by engaging myself with the main character Ahri, experiencing the world in her perspective in third-person format.

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In terms of this format, this can suggest that Rayla wants the readers to feel as if we are beside Ahri and grow a liking to her. Especially when she gratefully “smiled at” the man who was offering his products to her as flexibly as possible to gain any kind of money. 
(Paragraph 5 - line 1)

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However, at the beginning of the story, it starts with the smell of “burning incense and rotting cabbage”, which is rather unpleasant, but as Ahri strolls through the market she was carrying “golden stones since before she could remember, though she had no knowledge of their origin.”. This implies to us that Ahri remain curious about and foreshadows Ahri’s eager to find their origin further in the story. 
(Paragraph 1 | paragraph 2 line 5)

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After the introduction of Ahri’s objective, she takes us readers with her to “a new environment”, and definitely a new environment as she “passed a stand with dozens of woven baskets filled to the brim with polished rocks, shells etched with legends from a seafaring tribe, gambling dice carved from bones, and other curious items.”. The small list of the items convey that Rayla wrote them in a certain order of from rather normal: “polished rocks”, to extremely bizarre material: “gambling dice carved from bones, and other curious items.”. 
(Paragraph 3 - line 2)

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As Ahri proceeds across the market, passing by “spiky orange vegetables”, and “fruit that shifted colour with the weather”, we abruptly introduced to a new character by interrupting. “Fortunes! Come get your fortunes told!” called a young woman with lavender eyes and a soft jawline.”. Here, the new character is given a short appearance description, unlike Ahri, to supposedly make us feel like we’re in the market in her eyes. 
(Paragraph 5 - line 2 | paragraph 6 - line 1)

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As the lady captures Ahri with her persuasive words, Ahri realises that the lady recognised her sunstones and eagerly asked her if she knew where they came from. 
The lady explains their brief history, and finishes with “dead rare, those”. Even though the sunstones were rare, this ending of the lady’s sentence gave a sense of foreboding for me as a reader. The word “rare” is from Ahri’s kind, and “dead” from the lady’s desire to lure Ahri to be hunted. 
(Paragraph 14 - line 3)

The lady soon introduced herself, “”I’m Hirin, by the way,” the woman said.”, which implies that Hirin wants Ahri to trust her to be able to lure her into the caravan - which she successfully does, because of Ahri’s eager to find the stones’ origin, as Hirin welcomes her, “if you come in I’ll tell you what I know”. 
(Paragraph 16 - line 1)

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As Ahri eagerly enters, the “caravan” is “decorated wall to wall with animal skins.”. Another technique of foreshadowing to the reader that Ahri is going to be tricked and hunted. 
(Paragraph 19 - line 2)

Hirin offers tea, and they both drink it, which “tasted of bitter oak bark, masked by a cloying dollop of honey.”. Personally, I found this sentence as a way of revealing a metaphor of Hirin’s ploy. The initial taste of the tea is “bitter”, which suggests Hirin’s bitter plan to take off one of Ahri’s tail, but to achieve the plan, she’s “masked” like a sweet woman of “honey” to appear approachable and trustworthy. 
(Paragraph 21 - line 2)

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After the metaphorical taste of the tea, and the foreshadowing previously in the story, the truth is finally revealed as “Hirin chuckled” and comes clean, “a fortune teller’s weaving must be seamless.”, “I weave in just enough of what you desire to make you stay”, “‘Til the tea slows your muscles, that is.”. 
(Paragraph 33 - line 2 | paragraph 35)

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I felt the great sensation of Ahri’s rage when “a low growl escaped Ahri’s lips. She would tear this woman apart. She tried to pounce, but her limbs did not obey. She was rooted in place.”. 
(Paragraph 36)

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Hirin begins her hunt, but Ahri manages to use her powers of making Hirin become a new person by erasing and consuming her memory, as well as conveniently gathering information about Hirin’s knowledge of the sunstones. Finally, she left Hirin “good as new”, instead of Ahri, waking “up tomorrow, good as new!”. 
(Paragraph 39 - line 1 | paragraph 53 - line 2)

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At last, Ahri pursues her objective to find the stones’ origin, as information about them “burned in her mind.”. 
(paragraph 55 - line 3)

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Overall, Rayla Heide achieved good engage the readers and flourish their emotions with Ahri’s as they experienced the market and the tricky ploy through her eyes. But most importantly, Rayla conducted great and effective uses of sentence structures, like metaphors, foreshadowing and basic, yet eccentric environment descriptions to make the story appear cinematic.