The Short Answer
Quick answer: Alekhine's Defense is 1.e4 Nf6, deliberately provoking White into chasing the knight with pawns. Black concedes space early and aims to prove the big pawn centre is overextended. It's sound, it's rare below master level, and it wins games against players who don't know how to handle it.
The opening breaks a rule beginners are taught, which is why it looks wrong. You move one piece repeatedly in the opening while your opponent builds a centre.
That's the point. Every pawn move White makes to attack the knight is a pawn committed, and committed pawns become targets. The knight retreats to b6 having cost White four tempi in pawn advances that can't be taken back.
Is that a good trade? At club level, usually yes. White players tend to push the pawns because pushing feels active, then arrive at move ten with a committed centre and no plan for it.
I played this for a season as a second defence and my results against 1.e4 improved, mostly because opponents burned clock time from move two.
The Basic Sequence
1.e4 Nf6 2.e5 Nd5 is the standard start. White gains space and attacks the knight, Black steps aside.
Most games continue 3.d4 d6, and here White has the main choice. The critical test is 4.c4 Nb6 5.f4, the Four Pawns Attack, where White builds the biggest centre possible.
Far more common in practice is 4.Nf3, the Modern Variation, where White develops sensibly and keeps a modest space edge.
The third option is the Exchange Variation with 4.c4 Nb6 5.exd6, which trades off the tension and leads to quieter positions where Black is fine.
Black's plan is consistent across all of them: undermine the centre with ...d6 and ...c5 or ...dxe5, develop the light-squared bishop actively before playing ...e6, and target the d4 and e5 squares. The pieces aim at the centre rather than occupying it, which is the hypermodern idea in its purest form.
The Four Pawns Attack
After 4.c4 Nb6 5.f4, White has pawns on c4, d4, e5 and f4. It looks terrifying and it's the line beginners fear.
Black's answer is 5...dxe5 6.fxe5 and then ...c5, hitting the centre immediately from the other side. The critical square is d4, and Black's whole plan is to make it collapse.
White's centre is impressive and brittle in equal measure. Every pawn defends the one in front of it, so removing one causes problems all along the chain, and White has spent five moves on pawns while developing nothing.
This is the line where Black scores best in practice at club level, because White players who reach it are usually following a plan from a video and don't know what to do once the centre is challenged.
Do learn it properly, though — it's the sharpest line and the one place where being unprepared as Black loses quickly rather than slowly.
The Modern Variation
4.Nf3 is what you'll face most often. White declines to overextend and just plays good moves, which is the sensible practical choice.
Black usually continues 4...Bg4, developing the bishop outside the pawn chain before ...e6 locks it in. That's a general principle worth carrying into every opening with a d6/e6 structure — get the light-squared bishop out first or it spends the game staring at its own pawns.
After 5.Be2 e6 6.O-O Be7 Black has a solid position with slightly less space and no weaknesses. The middlegame plans revolve around ...c5 or ...f6, both aimed at the centre.
Honestly, Black is a bit worse here in the sense that White has a small pull. That's true of most openings against 1.e4 and it's not a reason to avoid the line.
What matters is that the positions are comfortable to play and the plans are clear, which at club level is worth more than a theoretical half-pawn.
Traps and Practical Points
The most common mistake by White is 2.Nc3, offering a transposition Black should usually decline with 2...d5, reaching a Scandinavian-flavoured position that's perfectly playable.
Watch for 2.e5 Nd5 3.c4 Nb6 4.c5, which chases the knight again and gains more space. Black replies 4...Nd5 and White's c5 pawn becomes a long-term weakness — this is the line where over-eager White players hand you a target.
Don't let the knight get trapped. After too many retreats it can end up on a poor square with no route back into the game, which is the one genuine risk of the whole opening.
And resist the urge to grab material early. The Alekhine is a positional provocation rather than a gambit, and taking pawns in the opening usually just gives White the development lead the structure is meant to deny.
If you're building a repertoire around unusual defences, our guide to the Scandinavian covers a lower-theory alternative against 1.e4 with a similar surprise value.
Who Should Play It
Play it if you're comfortable with less space and enjoy positions where you're counterattacking rather than building. That temperament matters more than rating here.
Don't play it if you like symmetrical, straightforward positions or if you find cramped middlegames stressful. There are easier defences against 1.e4 and no shame in choosing one — the Caro-Kann and the French both give solid structures with clearer plans.
The theory load is genuinely light compared to the Sicilian, which is a real practical advantage. Six or seven forcing lines covers most of what you'll meet.
Rating-wise it works from about 1200 upward, provided you understand the plan rather than just the moves. Below that, the space disadvantage is hard to handle because the positions require patience.
And it's a decent second defence to keep alongside your main one, for the games where you want to take an opponent out of their preparation early. That's how I use it. Main defence for serious games, Alekhine when I want the opponent thinking on their own time. The history of the opening is worth a read too — it was genuinely shocking when Alekhine introduced it in 1921, and the strategic argument behind it hasn't changed since.
How to Study It
Start with the Four Pawns Attack even though you'll face it least. It's the line that loses games fast when you don't know it, and knowing it removes the fear that makes people abandon the opening.
Then the Modern Variation, which is where most of your games will actually go and where understanding beats memory.
Play through twenty master games in each structure before worrying about move-order subtleties. The plans repeat, and once you've seen ...c5 undermine the centre a dozen times you'll find the move yourself.
Then spaced repetition on the forcing lines only — the first six moves of the Four Pawns and the main Modern line. That's maybe forty positions total, which is a small enough set to keep genuinely fresh rather than vaguely familiar.
That's the approach our opening trainer is built around, and it suits low-theory openings like this one particularly well, because the small set of critical lines is exactly what memory should be spent on.