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Design thinking is a well-established practical and educational approach to fostering high-level creativity and innovation, which has been refined since the 1950s with the participation of experts like Joy Paul Guilford and Abraham Maslow. Through real-world projects, trainees learn to optimize their creative outcomes by developing and practicing creative cognition and metacognition. This paper provides a holistic perspective on creativity, enabling the formulation of a comprehensive theoretical framework of creative metacognition. It focuses on the design thinking approach to creativity and explores the role of metacognition in four areas of creativity expertise: Products, Processes, People, and Places. The analysis includes task-outcome relationships (product metacognition), the monitoring of strategy effectiveness (process metacognition), an understanding of individual or group strengths and weaknesses (people metacognition), and an examination of the mutual impact between environments and creativity (place metacognition). It also reviews measures taken in design thinking education, including a distribution of cognition and metacognition, to support students in their development of creative mastery. On these grounds, we propose extended methods for measuring creative metacognition with the goal of enhancing comprehensive assessments of the phenomenon. Proposed methodological advancements include accuracy sub-scales, experimental tasks where examinees explore problem and solution spaces, combinations of naturalistic observations with capability testing, as well as physiological assessments as indirect measures of creative metacognition.
About 15 years ago, the first Massive Open Online Courses (MOOCs) appeared and revolutionized online education with more interactive and engaging course designs. Yet, keeping learners motivated and ensuring high satisfaction is one of the challenges today's course designers face. Therefore, many MOOC providers employed gamification elements that only boost extrinsic motivation briefly and are limited to platform support. In this article, we introduce and evaluate a gameful learning design we used in several iterations on computer science education courses. For each of the courses on the fundamentals of the Java programming language, we developed a self-contained, continuous story that accompanies learners through their learning journey and helps visualize key concepts. Furthermore, we share our approach to creating the surrounding story in our MOOCs and provide a guideline for educators to develop their own stories. Our data and the long-term evaluation spanning over four Java courses between 2017 and 2021 indicates the openness of learners toward storified programming courses in general and highlights those elements that had the highest impact. While only a few learners did not like the story at all, most learners consumed the additional story elements we provided. However, learners' interest in influencing the story through majority voting was negligible and did not show a considerable positive impact, so we continued with a fixed story instead. We did not find evidence that learners just participated in the narrative because they worked on all materials. Instead, for 10-16% of learners, the story was their main course motivation. We also investigated differences in the presentation format and concluded that several longer audio-book style videos were most preferred by learners in comparison to animated videos or different textual formats. Surprisingly, the availability of a coherent story embedding examples and providing a context for the practical programming exercises also led to a slightly higher ranking in the perceived quality of the learning material (by 4%). With our research in the context of storified MOOCs, we advance gameful learning designs, foster learner engagement and satisfaction in online courses, and help educators ease knowledge transfer for their learners.