Interesting, because whilst I see that there's a truth to the way in which Hergé created the world his stories, I (personally) see them as largely fanciful, mostly escapist, and in their own way as sensational as Edgar Rice Burroughs or Rider-Haggard. Inca cults! Telepathic fakirs! Ancient astronauts! Giant human snowballs! Amazing hirsute bubble-blowing detectives! All the fun of the fair! ;-)
What politics he has in them is mostly for plot, and not in any real sense insightful; he uses magic and pseudoscience as much, if not more than hard science, etc. The beauty of what he does is that he draws and writes with an authority which makes the story work, and which imbues truth to what he is telling you, but he makes an atomic rocket which is ultimately no more real to me than a levitating monk, or a divining pendulum.
I'm no admirer of the fascism of Dawkinsian rationality because after all most of our universe is composed of dark matter but Herge's sensationalism is always balanced by the 'real' world in which his characters function. Therefore the Yeti may or may not exist but what it symbolises in the album is man's relationship with the external world; similarly the balance in Prisoners of the Sun between the imaginative world of the Incas and the rational expedience of the eclipse.
The genius of the Tintin adventures for me (more so as I have grown older) is that they offer a genuine history of the twentieth century in the most beautifully constructed comic book world. If one takes that out then one is left with Jo, Zette, and Jocko. That's why the removal of the rational (for all his buffoonery) Calculus is so troubling, particularly when I see a trailer that seems to aggrandise the spectacular (the holy grail?) at the expense of the relatively humdrum (a treasure chest).
I'll wager they won't be making The Castafoire Emerald any time soon.