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Kinda sorta. The real answer is used a lot in Baroque writing (Bach's most famous fugues use real answers), but they're honestly just different ways of doing fugues. As long as the rules are followed, there's no "better" way etc. My focus is on Renaissance counterpoint more than Baroque/Classical counterpoint, so I'm definitely not an infinite resource on the subject. 😊

Yeah, I think I mentioned it (the video and I use different terms), but you do have a diatonic fugue (what he calls a tonal subject/answer), where the intervals are changing. It's just a bit stricter in Baroque writing.

Again, if you're going for Bach, no. It also doesn't follow a lot of the Baroque voice leading rules, but if it's not Baroque then don't worry about it. You could argue it's a diatonic fugue, but a standard tonal fugue would have your answer actually in the key of the dominant (F∆) (occasionally subdominant i.e. Bach Tocatta/Fugue), instead of a transposed version with the intervals changed. The fact that your third entrance is the same as the second is also a little strange.

Use of C7 in the opening progression takes away from the seriousness of the piece, especially arpeggiation. Counterpoint in the next section does not match really well. Lots of suspended non-harmonic tones against each other and the bass chords. Use of parallel thirds in the bass sounds a little amateurish, especially since it's so range-heavy with the chords on top. Your violin sound jumping up a seventh to exercise the repeat is a bit jumpy.