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I agree with your position that MotF portrays what generally needs to happen for us to have a non-horrifying future, though as a matter of probability it's like getting heads on ten coin flips in a row.

Fukuyama's criticism about characterization is unfair because I don't think KSR was trying and failing to make amazing characters. They were just vehicles for the larger story. Being disappointed that a main character didn't have sex at the end is really missing the point.

An aside: while reading MotF I felt the same sort of relentless sense of passing time that you get in Christopher Nolan's movie Interstellar. Interestingly both the book and movie are about climate change and time and, also, about centering the story and setting at the expense of characterization.

I'm ambivalent about the advantages of arguing for political change as a necessary part of environmental change. But as you said in an earlier comment, rapid transition (which I think is likely, as we go right to the cliff and then fall off) will itself be horribly traumatic. It will require massive government intervention to prevent total societal collapse. After hurricanes and earthquakes, you don't adjust tax rates, you send in the military.

My own major criticism of MotF is that, as the COVID crisis makes clear, people live by motivated reasoning, and as climate change gets worse that motivation will be fear, and frightened people will act badly. Most of the opposition in MotF are rich people trying to hold onto what they have or technocratic rulers too timid to act. In the actual world the real problem will be billions of terrified people whose past has been or is about to be destroyed and with no clear future. However that story told honestly would look like a Cormac McCarthy novel and maybe KSR just doesn't want to go there yet.